Swift Car Quotes

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In high school, I used to think it was like sooooo cool if a guy had an awesome car. Now none of that matters. These days I look for character and honesty and trust.
Taylor Swift
I'll bet she's beautiful, that girl he talks about, and she's got everything that I have to live without... He's the reason for the teardrops on my guitar, the only one who's got enough of me to break my heart. He's the song in the car I keep singing; don't know why I do.
Taylor Swift
With your face and your beautiful eyes and the coversations with the little white lies and the faded picture of a beautiful lie you carry me from your car up the stairs,and I broke down crying was she worth this mess? After everything and that little black dress.After everything i must confess...I need you <3'':) -Taylor Swift
Taylor Swift (Taylor Swift - Fearless Songbook: Guitar Recorded Versions)
When my face was slashed, my dad held me on his lap in the car to the hospital, applying direct pressure with the swift calm of a veteran and an ex-fireman. I looked up and asked him, "Am I going to die?" "Don't speak," he said. So, yeah, he's not the kind of guy who wants to watch people eat bugs on Survivor. It's so clear to me how those two things are related.
Tina Fey (Bossypants)
Oh, your sweet disposition and my wide-eyed gaze. We're singing in the car, getting lost Upstate. Autumn leaves falling down like pieces into place, And I can picture it after all these days.
Taylor Swift
Yes! I did [grow up on a Christmas Tree farm], so this is a good season for me. I was too young to help with the hauling of the trees up the hills and putting them onto cars. So, it was my job to pull off the preying mantis pods off of the Christmas trees. The problem with that is if you leave them on there, people bring them into their house. I forgot to check one time and they hatched all over these people’s house. And there were hundreds of thousands of them. And they had little kids, and they couldn’t kill of them because that’d be a bad Christmas.
Taylor Swift (Taylor Swift Songbook: Guitar Recorded Versions)
It pained me to think something so inane, but that morning, as she’d subjected me to an endless T-Swift playlist, I realized that Liz was a fucking Taylor Swift song. She was. Vibey and romantic, but with the uncanny ability to reach inside of you and grab your heart with her absolute specificity. Liz Buxbaum wasn’t just a redhead; no, she was a girl whose hair was the color of the late September maple leaves that fluttered on the home base tree in her front yard. And Liz Buxbaum didn’t just wear a sweater, for God’s sake. No, she wore an apple green cardigan that smelled like Chanel No.5 and the front seat of your car, where she’d left it for a week. She said it reminded her of the way the rain sounded on the roof the first time you kissed her.
Lynn Painter (Wes & Liz’s College Road Trip (Better than the Movies, #1.7))
Girls took to dressing like boys, and though women had obtained the vote, we had swiftly moved on to pursuing flashier freedoms: necking in cars and smoking cigarettes and walking down city streets in flesh colored stockings.
Anna Godbersen (Bright Young Things (Bright Young Things, #1))
I looked around me to make sure it was clear. That's when I noticed the still, white figure. Edward Cullen was leaning against the front door of the Volvo, three cars down from me, and staring intently in my direction. I swiftly looked away and threw the truck into reverse, almost hitting a rusty Toyota Corolla in my haste. Lucky for the Toyota, I stomped on the brake in time. It was just the sort of car that my truck would make scrap metal of. I took a deep breath, still looking out the other side of my car, and cautiously pulled out again, with greater success. I stared straight ahead as I passed the Volvo, but from a peripheral peek, I would swear I saw him laughing.
Stephenie Meyer (Twilight (The Twilight Saga, #1))
Nooooooooooo!" Screaming the word, Amy and Dan moved as one. Time slowed down, which, Dan knew from experience, often happened when you were in midair. By the time they leaped onto the hood of Fiske's car (oops, dents), and Dan had ripped off a windshield wiper to use as a weapon (probably not the best idea, but hey, he was improvising), Scarey Harley Dude had turned around. He strode off in his motorcycle boots, moving swiftly to his bike without seeming to hurry. His helmet back on, sunglasses adjusted, he roared off straight into the road, weaving through the thick traffic like smoke. Amy's face was squashed against the windshield. Dan held the wiper aloft like a club. And Evan Tolliver stood on the sidewalk, blinking at them. Dan waved the windshield wiper at him. "Hey, bro. We didn't want to miss our ride.
Jude Watson (Vespers Rising (The 39 Clues, #11))
He opens up my door and I get into his car and he says, "you look beautiful tonight." And I feel perfectly fine, but I've been screamin' and fightin' and kissin' in the rain. And it's two a.m. and I'm cursin' your name. You're so in love that you act insane, and that's the way I loved you.
Taylor Swift
If the demand for self-knowledge is willed by fate and is refused, this negative attitude may end in real death. The demand would not have come to this person had he still been able to strike out on some promising by-path. But he is caught in a blind alley from which only self-knowledge can extricate him. If he refuses this then no other way is left open to him. Usually he is not conscious of his situation, either, and the more unconscious he is the more he is at the mercy of unforeseen dangers: he cannot get out of the way of a car quickly enough, in climbing a mountain he misses his foothold somewhere, out skiing he thinks he can negotiate a tricky slope, and in an illness he suddenly loses the courage to live. The unconscious has a thousand ways of snuffing out a meaningless existence with surprising swiftness.
C.G. Jung
Swift opened his eyes. "Your fingers are shaking." Max nodded. "Adrenaline. It's pretty exciting seeing your friend's car get shot full of holes. Especially with your friend sitting inside." Swift nodded too. "From my side too.
Josh Lanyon (Come Unto These Yellow Sands)
Flight is many things. Something clean and swift, like a bird skimming across the sky. Or something filthy and crawling; a series of crablike movements through figurative and literal slime, a process of creeping ahead, jumping sideways, running backward. It is sleeping in fields and river bottoms. It is bellying for miles along an irrigation ditch. It is back roads, spur railroad lines, the tailgate of a wildcat truck, a stolen car and a dead couple in lovers' lane. It is food pilfered from freight cars, garments taken from clotheslines; robbery and murder, sweat and blood. The complex made simple by the alchemy of necessity
Jim Thompson (The Getaway)
Would you let me drive this?" I ask, surprised that I say the words out loud. "Of course," Christian replies, smiling. "What's mine is yours. If you dent it, though, I will take you into the Red Room of Pain." He glances swiftly at me with a malicious grin. "You're kidding. You'd punish me for denting your car? You love your car more than you love me?" I tease. "It's close," he says and reaches across to squeeze my knee, "But she doesn't keep me warm at night." "I'm sure it could be arranged. You could sleep in her," I snap. Christian laughs. "We haven't been home one day and you're kicking me out already?" He seems delighted.
E.L. James (Fifty Shades Freed (Fifty Shades, #3))
Iinsisted on blasting Taylor Swift the entire car ride home and singing along just so I could avoid talking about that kiss. Because whenever anxiety hit me in the head, heart, or anywhere else... like say my lips, the cure was always my girl, Tay.
Amy Award (The C*ck Down the Block (The Cocky Kingmans, #1))
Were you sent by someone who wanted me dead? Did you sleep with a gun underneath our bed? Were you writing a book? Were you a sleeper cell spy? In fifty years, will all this be declassified? And you'll confess why you did it And I'll say, "Good riddance" 'Cause it wasn't sexy once it wasn't forbidden I would've died for your sins Instead, I just died inside And you deserve prison, but you won't get time You'll slide into inboxes and slip through the bars You crashed my party and your rental car You said normal girls were boring But you were gone by the morning You kicked out the stage lights But you're still performing And in plain sight you hid But you are what you did And I'll forget you, but I'll never forgive The smallest man who ever lived
Taylor Swift
No. I wasn’t there. I was back in Gladstone, Pennsylvania, and I was twelve years old. Two state troopers were in the driveway, with a white car parked . . . and swiftly they were striding to interrupt a birthday party to tell us all that Daddy was dead. Killed in an accident on Greenfield Highway. “Chris! Chris!” I screamed, terrified he might have gone. “I’m here. I’m coming. I knew you’d need me.
V.C. Andrews (Petals on the Wind (Dollanganger, #2))
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)
Song of myself Now I will do nothing but listen, To accrue what I hear into this song, to let sounds contribute toward it. I hear bravuras of birds, bustle of growing wheat, gossip of flames, clack of sticks cooking my meals, I hear the sound I love, the sound of the human voice, I hear all sounds running together, combined, fused or following, Sounds of the city and sounds out of the city, sounds of the day and night, Talkative young ones to those that like them, the loud laugh of work-people at their meals, The angry base of disjointed friendship, the faint tones of the sick, The judge with hands tight to the desk, his pallid lips pronouncing a death-sentence, The heave'e'yo of stevedores unlading ships by the wharves, the refrain of the anchor-lifters, The ring of alarm-bells, the cry of fire, the whirr of swift-streaking engines and hose-carts with premonitory tinkles and color'd lights, The steam-whistle, the solid roll of the train of approaching cars, The slow march play'd at the head of the association marching two and two, (They go to guard some corpse, the flag-tops are draped with black muslin.) I hear the violoncello, ('tis the young man's heart's complaint,) I hear the key'd cornet, it glides quickly in through my ears, It shakes mad-sweet pangs through my belly and breast. I hear the chorus, it is a grand opera, Ah this indeed is music--this suits me.
Walt Whitman
The most fantastic parking-lot attendant in the world, he can back a car forty miles an hour into a tight squeeze and stop at the wall, jump out, race among fenders, leap into another car, circle it fifty miles an hour in a narrow space, back swiftly into tight spot, hump, snap the car with the emergency so that you see it bounce as he flies out; then clear to the ticket shack, sprinting like a track star, hand a ticket, leap into a newly arrived car before the owner’s half out, leap literally under him as he steps out, start the car with the door flapping, and roar off to the next available spot, arc, pop in, brake, out, run; working like that without pause eight hours a night, evening rush hours and after-theater rush hours, in greasy wino pants with a frayed fur-lined jacket and beat shoes that flap.
Jack Kerouac (On the Road)
I let the lights and the faces come at me. I let the nerves tap out signals to my brain center. I let go. The pink, green, and yellow neons flashed on and off with a definite rhythm, each with its own particular tempo. Together they screamed out a syncopated color rhapsody. The faces; the cafés; the speed of light, steel cars. Swift; quick. Red; green. Flash; off. Stop; go.
Sylvia Plath (The Unabridged Journals of Sylvia Plath)
I can remember when I was a bit of an ETA fan myself. It was in 1973, when a group of Basque militants assassinated Adm. Carrero Blanco. The admiral was a stone-faced secret police chief, personally groomed to be the successor to the decrepit Francisco Franco. His car blew up, killing only him and his chauffeur with a carefully planted charge, and not only was the world well rid of another fascist, but, more important, the whole scheme of extending Franco's rule was vaporized in the same instant. The dictator had to turn instead to Crown Prince Juan Carlos, who turned out to be the best Bourbon in history and who swiftly dismantled Franco's entire system. If this action was 'terrorism,' it had something to be said for it. Everyone I knew in Spain made a little holiday in their hearts when the gruesome admiral went sky-high.
Christopher Hitchens (Christopher Hitchens and His Critics: Terror, Iraq, and the Left)
The on-edge feeling ratcheted up to an inching-toward-the-end-of-the-liff level of on-edge as I watched her approach the car. Swear to God I heard Taylor Swift's voice say, "Are you ready for it?" Let the games begin.
Lynn Painter (Betting on You)
You know, I still feel in my wrists certain echoes of the pram-pusher’s knack, such as, for example, the glib downward pressure one applied to the handle in order to have the carriage tip up and climb the curb. First came an elaborate mouse-gray vehicle of Belgian make, with fat autoid tires and luxurious springs, so large that it could not enter our puny elevator. It rolled on sidewalks in a slow stately mystery, with the trapped baby inside lying supine, well covered with down, silk and fur; only his eyes moved, warily, and sometimes they turned upward with one swift sweep of their showy lashes to follow the receding of branch-patterned blueness that flowed away from the edge of the half-cocked hood of the carriage, and presently he would dart a suspicious glance at my face to see if the teasing trees and sky did not belong, perhaps to the same order of things as did rattles and parental humor. There followed a lighter carriage, and in this, as he spun along, he would tend to rise, straining at his straps; clutching at the edges; standing there less like the groggy passenger of a pleasure boat than like an entranced scientist in a spaceship; surveying the speckled skeins of a live, warm world; eyeing with philosophic interest the pillow he had managed to throw overboard; falling out himself when a strap burst one day. Still later he rode in one of those small contraptions called strollers; from initial springy and secure heights the child came lower and lower, until, when he was about one and a half, he touched ground in front of the moving stroller by slipping forward out of his seat and beating the sidewalk with his heels in anticipation of being set loose in some public garden. A new wave of evolution started to swell, gradually lifting him again from the ground, when, for his second birthday, he received a four-foot-long, silver-painted Mercedes racing car operated by inside pedals, like an organ, and in this he used to drive with a pumping, clanking noise up and down the sidewalk of the Kurfurstendamm while from open windows came the multiplied roar of a dictator still pounding his chest in the Neander valley we had left far behind.
Vladimir Nabokov
It was cold in the street and I crossed to the lighted blaze of shops in Rue Fuad. In a grocer’s window I saw a small tin of olives with the name Orvieto on it, and overcome by a sudden longing to be on the right side of the Mediterranean, entered the shop: bought it: had it opened there and then: and sitting down at a marble table in that gruesome light I began to eat Italy, its dark scorched flesh, hand-modelled spring soil, dedicated vines. I felt that Melissa would never understand this. I should have to pretend I had lost the money. I did not see at first the great car which she had abandoned in the street with its engine running. She came into the shop with swift and resolute suddenness and said, with the air of authority that Lesbians, or women with money, assume with the obviously indigent: ‘What did you mean by your remark about the antinomian nature of irony?’ — or some such sally which I have forgotten.
Lawrence Durrell (The Alexandria Quartet)
An asteroid or comet traveling at cosmic velocities would enter the Earth’s atmosphere at such a speed that the air beneath it couldn’t get out of the way and would be compressed, as in a bicycle pump. As anyone who has used such a pump knows, compressed air grows swiftly hot, and the temperature below it would rise to some 60,000 Kelvin, or ten times the surface temperature of the Sun. In this instant of its arrival in our atmosphere, everything in the meteor’s path—people, houses, factories, cars—would crinkle and vanish like cellophane in a flame. One second after entering the atmosphere, the meteorite would slam into the Earth’s surface, where the people of Manson had a moment before been going about their business. The meteorite itself would vaporize instantly, but the blast would blow out a thousand cubic kilometers of rock, earth, and superheated gases. Every living thing within 150 miles that hadn’t been killed by the heat of entry would now be killed by the blast. Radiating outward at almost the speed of light would be the initial shock wave, sweeping everything before it. For those outside the zone of immediate devastation, the first inkling of catastrophe would be a flash of blinding light—the brightest ever seen by human eyes—followed an instant to a minute or two later by an apocalyptic sight of unimaginable grandeur: a roiling wall of darkness reaching high into the heavens, filling an entire field of view and traveling at thousands of miles an hour. Its approach would be eerily silent since it would be moving far beyond the speed of sound. Anyone in a tall building in Omaha or Des Moines, say, who chanced to look in the right direction would see a bewildering veil of turmoil followed by instantaneous oblivion. Within minutes, over an area stretching from Denver to Detroit and encompassing what had once been Chicago, St. Louis, Kansas City, the Twin Cities—the whole of the Midwest, in short—nearly every standing thing would be flattened or on fire, and nearly every living thing would be dead. People up to a thousand miles away would be knocked off their feet and sliced or clobbered by a blizzard of flying projectiles. Beyond a thousand miles the devastation from the blast would gradually diminish. But that’s just the initial shockwave. No one can do more than guess what the associated damage would be, other than that it would be brisk and global. The impact would almost certainly set off a chain of devastating earthquakes. Volcanoes across the globe would begin to rumble and spew. Tsunamis would rise up and head devastatingly for distant shores. Within an hour, a cloud of blackness would cover the planet, and burning rock and other debris would be pelting down everywhere, setting much of the planet ablaze. It has been estimated that at least a billion and a half people would be dead by the end of the first day. The massive disturbances to the ionosphere would knock out communications systems everywhere, so survivors would have no idea what was happening elsewhere or where to turn. It would hardly matter. As one commentator has put it, fleeing would mean “selecting a slow death over a quick one. The death toll would be very little affected by any plausible relocation effort, since Earth’s ability to support life would be universally diminished.
Bill Bryson (A Short History of Nearly Everything)
There’s a man with her. He’s blonde, balding, harassed-looking, and probably what they call time-poor. Older. He looks at me over the steering wheel and gives a helpless, frustrated gesture, as though I should be able to identify and sympathize with his plight. Then, as the woman starts to open the car door, he stops her with a swift movement. And suddenly they’re struggling, locked into a graceless, desperate tussle. I picture the dull, bestial unhappiness of a couple shackled to each other by their mortgage and their children’s shareed DNA.
Liz Jensen (The Rapture)
When we arrived, my sisters pulled the wheelchair out of the trunk and placed it next to the car door. They opened the door and Jennifer leaned down and with one swift motion lifted me up like a nearly weightless child and placed me in the chair. I laughed it off. “My sister’s strong. She’s really strong,” I boasted on her behalf. Sara, Katherine, and Jennifer were laughing the whole time because I didn’t realize how scrawny I was, how much weight I had lost. Jennifer could pick me up with no problem because I practically weighed nothing at all.
Noah Galloway (Living with No Excuses: The Remarkable Rebirth of an American Soldier)
There was a scream of tortured rubber as the tyres caught the boulevard in a harsh left-handed turn, the deafening echo of a Citroën’s exhaust in second gear, a crash into top, then a swiftly diminishing crackle as the car hared off between the shops on the main street towards the coast-road.
Ian Fleming (Casino Royale (James Bond, #1))
Tale of the Holy Hitchhiker by Stewart Stafford A motorist drives by the Blue Church, Of left-handed compliments, And omnipresent righteous sins, Where the Holy Hitchhiker dwells. Waiting for God at the stop sign, No thumbs, he blesses passing cars, Chanting his destination's directions, Then going into silent meditation. A fated pause at the railway crossing, Purgatory train takes an eternity to go by, Time for confessional contemplation, Swift redemption with the accelerator. Thankful prayers at the journey's end, Payment made as alms for the poor, Then a smile as he vanishes into light, The driver sees the Blue Church again. © Stewart Stafford, 2022. All rights reserved.
Stewart Stafford
In our need for more and more rapid replacement of the worldly things around us, we can no longer afford to use them, to respect and preserve their inherent durability; we must consume, devour, as it were, our houses and furniture and cars as though they were the “good things” of nature which spoil uselessly if they are not drawn swiftly into the never-ending cycle of man’s metabolism with nature. It is as though we had forced open the distinguishing boundaries which protected the world, the human artifice, from nature, the biological process which goes on in its very midst as well as the natural cyclical processes which surround it, delivering and abandoning to them the always threatened stability of a human world.
Hannah Arendt (The Human Condition)
We had one car. It was a stick shift.” “But you couldn’t drive it?” I asked, tightening my hand that was on the steering wheel. “No, which meant I didn’t leave the house unless I was going somewhere within walking distance or my ex drove me.” “He didn’t try to teach you?” “He said I didn’t need to know how to drive it when he could take me anywhere I wanted to go.
Lyla Sage (Swift and Saddled (Rebel Blue Ranch, #2))
Your fascinating admirer waits here for you,’ said Donovan, indicating a vacant and grass-grown lot at the corner. ‘Yes, Matty dear, when you’ve gone to your virgin bed, he sits here, in his car, watching your room to make sure of your exclusive interest in him—the whole town’s laughing its head off about it,’ he added cruelly, and glanced swiftly sideways to see how she would take it.
Doris Lessing (Martha Quest)
from her purse. “We have to follow that car!” “But not too close,” Nancy replied. “We’d make them suspicious.” The girls waited three minutes before backing out into the main highway and then turning into the adjacent road. Though the automobile ahead had disappeared, tire prints were plainly visible. The road twisted through a stretch of wood-land. When finally the tire prints turned off into a heavily wooded narrow lane, Nancy was sure they were not far from the cabin. She parked among some trees and they went forward on foot. “There it is!” whispered Nancy, recognizing the chimney. “Bess, I want you to take my car, drive to River Heights, and look up the name of the owner of the car we just saw. Here’s the license number. “After you’ve been to the Motor Vehicle Bureau, please phone Mrs. Putney’s house. If she answers, we’ll know it wasn’t she we saw in the car. Then get hold of Dad or Ned, and bring one of them here as fast as you can. We may need help. Got it straight?” “I—I—g-guess so,” Bess answered. “Hurry back! No telling what may happen while you’re away.” The two watched as Nancy’s car rounded a bend and was lost to view. Then Nancy and George walked swiftly through the woods toward the cabin. Approaching the building, Nancy and George were amazed to find that no car was parked on the road in front. “How do you figure it?” George whispered as the girls crouched behind bushes. “We certainly saw tire marks leading into this road!” “Yes, but the car that passed may have gone on without stopping. Possibly the driver saw us and changed her plans. Wait here, and watch the cabin while I check the tire marks out at the
Carolyn Keene (The Ghost of Blackwood Hall (Nancy Drew, #25))
FREE BOOKLETS …”), answering advertisements (“SUNKEN TREASURE! Fifty Genuine Maps! Amazing Offer …”) that stoked a longing to realize an adventure his imagination swiftly and over and over enabled him to experience: the dream of drifting downward through strange waters, of plunging toward a green sea-dusk, sliding past the scaly, savage-eyed protectors of a ship’s hulk that loomed ahead, a Spanish galleon—a drowned cargo of diamonds and pearls, heaping caskets of gold. A car horn honked. At last—Dick.
Truman Capote (In Cold Blood)
What did I do now?” He reluctantly pulled the car the curb. I needed to get out of this car – like now. I couldn’t breathe. I unbuckled and flung open the door. “Thanks for the ride. Bye.” I slammed the door shut and began down the sidewalk. Behind me, I heard the engine turn off and his door open and shut. I quickened my stride as James jogged up to me. I slowed down knowing I couldn’t escape his long legs anyway. Plus, I didn’t want to get home all sweaty and have to explain myself. “What happened?” James asked, matching my pace. “Leave me alone!” I snapped back. I felt his hand grab my elbow, halting me easily. “Stop,” he ordered. Damn it, he’s strong! “What are you pissed about now?” He towered over me. I was trapped in front of him, if he tugged a bit, I’d be in his embrace. “It’s so funny huh? I’m that bad? I’m a clown, I’m so funny!” I jerked my arm, trying to break free of his grip. “Let me go!” “No!” He squeezed tighter, pulling me closer. “Leave me alone!” I spit the words like venom, pulling my arm with all my might. “What’s your problem?” James demanded loudly. His hand tightened on my arm with each attempt to pull away. My energy was dwindling and I was mentally exhausted. I stopped jerking my arm back, deciding it was pointless because he was too strong; there was no way I could pull my arm back without first kneeing him in the balls. We were alone, standing in the dark of night in a neighborhood that didn’t see much traffic. “Fireball?” he murmured softly. “What?” I replied quietly, defeated. Hesitantly, he asked, “Did I say something to make you sad?” I wasn’t going to mention the boyfriend thing; there was no way. “Yes,” I whimpered. That’s just great, way to sound strong there, now he’ll have no reason not to pity you! “I’m sorry,” came his quiet reply. Well maybe ‘I’m sorry’ just isn’t good enough. The damage is already done! “Whatever.” “What can I do to make it all better?” “There’s nothing you could–” I began but was interrupted by him pulling me against his body. His arms encircled my waist, holding me tight. My arms instinctively bent upwards, hands firmly planted against his solid chest. Any resentment I had swiftly melted away as something brand new took its place: pleasure. Jesus! “What do you think you’re doing?” I asked him softly; his face was only a few inches from mine. “What do you think you’re doing?” James asked back, looking down at my hands on his chest. I slowly slid my arms up around his neck. I can’t believe I just did that! “That’s better.” Our bodies were plastered against one another; I felt a new kind of nervousness touch every single inch of my body, it prickled electrically. “James,” I murmured softly. “Fireball,” he whispered back. “What do you think you’re doing?” I repeated; my brain felt frozen. My heart had stopped beating a mile a minute instead issuing slow, heavy beats. James uncurled one of his arms from my waist and trailed it along my back to the base of my neck, holding it firmly yet delicately. Blood rushed to the very spot he was holding, heat filled my eyes as I stared at him. “What are you doing?” My bewilderment was audible in the hush. I wasn’t sure I had the capacity to speak anymore. That function had fled along with the bitch. Her replacement was a delicate flower that yearned to be touched and taken care of. I felt his hand shift on my neck, ever so slightly, causing my head to tilt up to him. Slowly, inch by inch, his face descended on mine, stopping just a breath away from my trembling lips. I wanted it. Badly. My lips parted a fraction, letting a thread of air escape. “Can I?” His breath was warm on my lips. Fuck it! “Yeah,” I whispered back. He closed the distance until his lush lips covered mine. My first kiss…damn! His lips moved softly over mine. I felt his grip on my neck squeeze as his lips pressed deeper into
Sarah Tork (Young Annabelle (Y.A #1))
Following the seventh, eighth, and ninth grades of middle school, high school would have been a fresh start. When I got to Fairfax High I would insist on being called Suzanne. I would wear my hair feathered or up in a bun. I would have a body that the boys wanted and the girls envied, but I’d be so nice on top of it all that they would feel too guilty to do anything but worship me. I liked to think of myself — having reached a sort of queenly W status — as protecting misfit kids in the cafeteria. When someone taunted Clive Saunders for walking like a girl, I would deliver swift vengeance with my foot to the taunter’s less-protected parts. When the boys teased Phoebe Hart for her sizable breasts, I would give a speech on why boob jokes weren’t funny. I had to forget that I too had made lists in the margins of my notebook when Phoebe walked by: Winnebagos, Hoo-has, Johnny Yellows. At the end of my reveries, I sat in the back of the car as my father drove. I was beyond reproach. I would overtake high school in a matter of days, not years, or, inexplicably, earn an Oscar for Best Actress during my junior year. These were my dreams on Earth.
Alice Sebold (The Lovely Bones)
When I reach my car door, I realize Jamie's followed me. He looks confused, and of course he is. Normal people don't need to prepare for social interactions. Normal people don't panic at the sight of strangers. Normal people don't want to cry because the plan they've processed in their head is suddenly not the plan that's going to happen. I'm not normal. I know this. And now Jamie is going to figure it out too. Because I'm not the girl who wears crop tops and short skirts and looks like one of Taylor Swift's best friends. I'm the girl who brings kiwi-flavored water to a house party.
Akemi Dawn Bowman (Starfish)
You look a bit tired,love; haven't you been sleeping well?" "I've been sleeping just fine," she lied. "I was out late last night." Deliberately she turned to him. "On a date." Alan controlled the swift surge of jealousy. Her ability to push the right buttons to get under his skin was no longer a surprise.He met the simmering gray eyes briefly. "Have a good time?" "I had a marvelous time. David's a musician, very senstive.Very passionate," she added with relish. "I'm crazy about him." David might have been surprised, as he was engaged to one of Shelby's closest friends, but she doubted the subject would come up again. "As a matter of fact," she continued with sudden inspiration, "he's coming by to pick me up at seven.So, I'd appreciate it if you'd just turn around and take me home." Instead of obliging as she hoped or raging as she expected, Alan glanced at his watch. "That's too bad.I doubt we'll be back by then." While Shelby sat in stony silence he pulled up to the curb. "Better put on your jacket; we'll have to walk half a block." When she neither moved nor spoke, he leaned across her as if to open the door. His mouth brushed over her ear. "Unless you'd like to stay in the car and neck.
Nora Roberts (The MacGregors: Alan & Grant (The MacGregors, #3-4))
I want you to give me a straight answer," Declan said. "Are you even thinking about going to college?" "No." It was satisfying and terrible to say it out loud, a trigger pulled, the explosion over within a second. Ronan looked around for bodies. Declan swayed; the bullet had clearly at least grazed him near a vital organ. With effort, he got the arterial spray under control. "Yeah, I figured. So the endgame is making this a career for you, isn't it?" This was not, in fact, what Ronan wanted. Although he wanted to be free to dream, and free to live at the Barns, he did not want to dream in order to be able to live at the Barns. He wanted to be left alone to repair all of the buildings, to raise his father's cattle from their supernatural sleep, to populate the fields with new animals to be eaten and sold, and to turn the very rearmost field into a giant mudslick suitable for driving cars around in circles. This, to Ronan, represented a romantic ideal that he would do much to achieve. He wasn't sure how to tell his brother this in a persuasive, unembarrassing way, though, so he'd said, in an unfriendly way, "I was actually thinkin' of being a farmer." "Ronan, for fuck's sake," Declan said. "Can we have a serious conversation for once?" Ronan flipped him the bird with swift proficiency.
Maggie Stiefvater (The Raven King (The Raven Cycle, #4))
This is textbook Bad Idea. We're driving with a stranger, no one knows where we are, and we have no way of getting in touch with anyone. This is exactly how people become statistics." "Exactly?" I asked, thinking of all the bizarre twists and turns that had led us to this place. Ben ceded the point with a sideways shrug. "Maybe not exactly. But still..." He let it go, and the cab eventually stopped at the edge of a remote, forested area. Sage got out and paid. "Everybody out!" Ben looked at me, one eyebrow raised. He was leaving the choice to me. I gave his knee a quick squeeze before I opened the door and we piled out of the car. Sage waited for the cab to drive away, then ducked onto a forest path, clearly assuming we'd follow. The path through the thick foliage was stunning in the moonlight, and I automatically released my camera from its bag. "I wish you wouldn't," Sage said without turning around. "You know I'm not one for visitors." "I'll refrain from selling the pictures to Travel and Leisure, then," I said, already snapping away. "Besides, I need something to take my mind off my feet." My shoes were still on the beach, where I'd kicked them off to dance. "Hey, I offered to carry you," Sage offered. "No, thank you." I suppose I should have been able to move swiftly and silently without my shoes, but I only managed to stab myself on something with every other footfall, giving me a sideways, hopping gait. Every few minutes Sage would hold out his arms, offering to carry me again. I grimaced and denied him each time. After what felt like about ten miles, even the photos weren't distracting enough. "How much farther?" I asked. "We're here." There was nothing in front of us but more trees. "Wow," Ben said, and I followed his eyes upward to see that several of the tree trunks were actually stilts supporting a beautifully hidden wood-and-glass cabin, set high among the branches. I was immediately charmed. "You live in a tree house," I said. I aimed my camera the façade, answering Sage's objection before he even said it. "For me, not for Architectural Digest." "Thank you," Sage said.
Hilary Duff (Elixir (Elixir, #1))
Once upon a time, before the boys were killed and when there were more horses than cars, before the male servants disappeared and they made do, at Upleigh and at Beechwood, with just a cook and a maid, the Sheringhams had owned not just four horses in their own stable, but what might be called a 'real horse', a racehorse, a thoroughbred. Its name was Fandango. It was stabled near Newbury. It had never won a damn thing. But is was the family's indulgence, their hope for fame and glory on the racecourses of southern England. The deal was that Pa and Ma - otherwise known in his strange language as 'the shower' - owned the head and body and he and Dick and Freddy had a leg each. 'What about the fourth leg?' 'Oh the fourth leg. That was always the question.
Graham Swift (Mothering Sunday)
If you could visit a cell, you wouldn’t like it. Blown up to a scale at which atoms were about the size of peas, a cell itself would be a sphere roughly half a mile across, and supported by a complex framework of girders called the cytoskeleton. Within it, millions upon millions of objects—some the size of basketballs, others the size of cars—would whiz about like bullets. There wouldn’t be a place you could stand without being pummeled and ripped thousands of times every second from every direction. Even for its full-time occupants the inside of a cell is a hazardous place. Each strand of DNA is on average attacked or damaged once every 8.4 seconds—ten thousand times in a day—by chemicals and other agents that whack into or carelessly slice through it, and each of these wounds must be swiftly stitched up if the cell is not to perish.
Bill Bryson (A Short History of Nearly Everything)
Comus. The Star that bids the Shepherd fold, Now the top of Heav'n doth hold, And the gilded Car of Day, [ 95 ] His glowing Axle doth allay In the steep Atlantick stream, And the slope Sun his upward beam Shoots against the dusky Pole, Pacing toward the other gole [ 100 ] Of his Chamber in the East. Mean while welcom Joy, and Feast, Midnight shout, and revelry, Tipsie dance and Jollity. Braid your Locks with rosie Twine [ 105 ] Dropping odours, dropping Wine. Rigor now is gone to bed, And Advice with scrupulous head, Strict Age, and sowre Severity, With their grave Saws in slumber ly. [ 110 ] We that are of purer fire Imitate the Starry Quire, Who in their nightly watchfull Sphears, Lead in swift round the Months and Years. The Sounds, and Seas with all their finny drove [ 115 ] Now to the Moon in wavering Morrice move, And on the Tawny Sands and Shelves, Trip the pert Fairies and the dapper Elves; By dimpled Brook, and Fountain brim, The Wood-Nymphs deckt with Daisies trim, [ 120 ] Their merry wakes and pastimes keep: What hath night to do with sleep? Night hath better sweets to prove, Venus now wakes, and wak'ns Love. Com let us our rights begin, [ 125 ] Tis onely day-light that makes Sin, Which these dun shades will ne're report. Hail Goddesse of Nocturnal sport Dark vaild Cotytto, t' whom the secret flame Of mid-night Torches burns; mysterious Dame [ 130 ] That ne're art call'd, but when the Dragon woom Of Stygian darknes spets her thickest gloom, And makes one blot of all the ayr, Stay thy cloudy Ebon chair, Wherin thou rid'st with Hecat', and befriend [ 135 ] Us thy vow'd Priests, till utmost end Of all thy dues be done, and none left out, Ere the blabbing Eastern scout, The nice Morn on th' Indian steep From her cabin'd loop hole peep, [ 140 ] And to the tel-tale Sun discry Our conceal'd Solemnity. Com, knit hands, and beat the ground, In a light fantastick round.
John Milton (Comus and Some Shorter Poems of Milton: Harrap's English Classics)
Get it out of your head and onto paper. When I had to explain to my board that, since we were a public company, I thought that it would be best if we sold all of our customers and all of our revenue and changed business, it was messing with my mind. In order to finalize that decision, I wrote down a detailed explanation of my logic. The process of writing that document separated me from my own psychology and enabled me to make the decision swiftly. Focus on the road, not the wall. When someone learns to drive a race car, one of the first lessons taught is that when you are going around a curve at 200 mph, do not focus on the wall; focus on the road. If you focus on the wall, you will drive right into it. If you focus on the road, you will follow the road. Running a company is like that. There are always a thousand things that can go wrong and sink the ship. If you focus too much on them, you will drive yourself nuts and likely crash your company. Focus on where you are going rather than on what you hope to avoid.
Ben Horowitz (The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers)
As time passed, I learned more and more about the culture that comes with beign an injured veteran. There are a lot of really wonderful people and organizations to help veterans returning from war. Right about the time I started to really move forward in my recovery, two women came by and introduced themselves. They explained that they raise money to help injured veterans with various needs. They asked if there was anything I or my family needed. I said, “No thank you, I’m all good.” But my sisters piped up and said, “He needs clothes. He doesn’t have anything.” The women smiled and said they’d be back. They came back with some sweatpants and a shirt and then announced that they were taking us to the mall. This would be my first time leaving the campus of Walter Reed, my first real trip out of the hospital. We were all excited. Leaving the hospital was a big step for me but my poor sisters had been cooped up much of the time with me in there as well. I was a little nervous, but I owed it to them to push aside my anxiety. We decided that the electric wheelchair would be too heavy and too much trouble to get in and out of the car, so Jennifer wheeled me down to the front door where the ladies were waiting in their car. With very little assistance, Jennifer was able to get me for that chair into the car and we were off to the mall. When we arrived, my sisters pulled the wheelchair out of the trunk and placed it next to the car door. They opened the door and Jennifer leaned down and with one swift motion lifted me up like a nearly weightless child and placed me in the chair. I laughed it off. “My sister’s strong. She’s really strong,” I boasted on her behalf. Sara, Katherine, and Jennifer were laughing the whole time because I didn’t realize how scrawny I was, how much weight I had lost. Jennifer could pick me up with no problem because I practically weighed nothing at all. But through the laughter, I felt a pang of guilt. I am the brother of three sisters. It was my job to protect and care for them. Yet here I was, barely able to take care of myself.
Noah Galloway (Living with No Excuses: The Remarkable Rebirth of an American Soldier)
FOXFIRE NEVER SAYS NEVER! By the time the kidnapped turquoise-and-chrome car overturns--turns and turns and turns!--in a snow-drifted field north of Tydeman's Corners Legs Sadovsky will have driven eleven miles from Eddy's Smoke Shop on Fairfax Avenue, six wild miles with the Highway Patrol cop in pursuit bearing up swiftly when the highway is clear and the girls are hysterical with excitement squealing and clutching one another thrown from side to side as Legs grimaces sighting the bridge ahead, it's one of those old-fashioned nightmare bridges with a steep narrow ramp, narrow floor made of planks but there's no time for hesitation Legs isn't going to use the brakes, she's shrewd, reasoning too that the cop will have to slow down, the fucker'll be cautious thus she'll have several seconds advantage won't she?--several seconds can make quite a difference in a contest like this so the Buick's rushing up the ramp, onto the bridge, the front wheels strike and spin and seem at first to be lifting in decorous surprise Oh! oh but astonishingly the car holds, it's a heavy machine of power that seems almost intelligent until flying off the bridge hitting a patch of slick part-melted ice the car swerves, now the rear wheels appear to be lifting, there's a moment when all effort ceases, all gravity ceases, the Buick a vessel of screams as it lifts, floats, it's being flung into space how weightless! Maddy's eyes are open now, she'll remember all her life this Now, now how without consequence! as the car hits the earth again, yet rebounds as if still weightless, turning, spinning, a machine bearing flesh, bones, girls' breaths plunging and sliding and rolling and skittering like a giant hard-shelled insect on its back, now righting itself again, now again on its back, crunching hard, snow shooting through the broken windows and the roof collapsing inward as if crushed by a giant hand upside-down and the motor still gunning as if it's frantic to escape, they're buried in a cocoon of bluish white and there's a sound of whimpering, panting,sobbing, a dog's puppyish yipping and a strong smell of urine and Legs is crying breathlessly half in anger half in exultation, caught there behind the wheel unable to turn, to look around, to see, "Nobody's dead--right?" Nobody's dead.
Joyce Carol Oates (Foxfire: Confessions of a Girl Gang)
For the thought came to her, a swift warning If he hits you once, he will hit you again. It will be the end. Badly she wanted to turn and run from the room, and out of the house—she had her own car, she could drive away. . . . The marriage had been a mistake: she must escape. But she knew she must not turn her back on this furious man, she must not insult him further. Though she’d never had any experience quite like this in her life she understood that Austin’s fury had to run its course, like wildfire. If she did nothing further to provoke it, but maintained her attitude of abject apology and regret, the fit would subside, eventually.
Anonymous
Cyclists thus found their hobby not as pleasant as it could be, to say the least, and the League of American Wheelmen committed to doing something about it. A year after Fisher opened his store, the league launched a magazine, Good Roads, that became an influential mouthpiece for road improvement. Its articles were widely reprinted, which attracted members who didn’t even own bikes; at the group’s peak, Fisher and more than 102,000 others were on the rolls, and the Good Roads Movement was too big for politicians to ignore. Yes, the demand for roads was pedal-powered, and a national cause even before the first practical American car rolled out of a Chicopee, Massachusetts, shop in 1893. A few months ahead of the Duryea Motor Wagon’s debut, Congress authorized the secretary of agriculture to “make inquiry regarding public roads” and to investigate how they might be improved.
Earl Swift (The Big Roads: The Untold Story of the Engineers, Visionaries, and Trailblazers Who Created the American Superhighways)
Grace was screwed. Royally screwed. As in, her career was over. Finished. Finite. She turned on the windshield wipers and slowed the car as she drove through the rain in the mountains. With a renewed grip on the steering wheel, she sent a quick prayer that the rain would stop. A little sprinkle she could handle. A storm...well, that was another matter entirely. She puffed out her cheeks as she exhaled. If only she was in Scotland for a holiday, but that wasn’t the case at all. In a last-ditch effort to give her muse a good swift kick in the pants, Grace decided to travel to Scotland. All her friends thought she had lost her mind. Her editor thought it was just one more excuse in a very long line of them as to why she hadn’t turned the book in. Grace wished she knew the reason the words just stopped coming. One day they were there, and the next...gone, vanished. Poof! Writing wasn’t just her career. It was her life. Because within the words and pages she was able to write about heroines who had relationships she would never have. It was the sad truth, but it was the truth. Grace accepted her lot...in a way. She might realize the string of miserable dates were complete misses and admit that. However, the stories running through her head allowed her to dream as far as she could, and encounter men and adventures sitting behind a computer never would. Not being able to find the words anymore was like having someone steal her soul. She breathed a sigh of relief when the rain stopped and she was able to turn off her windshield wipers. In the two hours since she checked into the B&B, it hadn’t stopped raining. Rain was a part of being in Scotland, and she was pushing herself with her fear of storms to be out in it as well. It proved how far she would go to find her soul again. She needed to write, to sink into another world where she could find happiness and a love that lasted forever. Now she was armed with her laptop and steely determination. She would find her muse again. Just as soon as she found the right place. The scenery along the highway was stunning, but the noise of the passing vehicles would be too much. Grace needed somewhere off the beaten path. Somewhere she could pretend she was the only person left in the world.
Donna Grant (Dragon King (Dark Kings, #6.5))
Earth’s not so bad—” “How would you know?” Tan’elKoth said acidly. “It is only in these past few days that you have had contact with the actual realities of Earth. Are you having fun?” He waved toward the window, where Kollberg now had one hand openly kneading his groin while he leaned one cheek and the side of his open mouth against the glass. Avery flinched and looked away. She hugged herself more tightly. “I don’t understand. If you hate what they’re going to do, why are you helping them?” “I am not helping them!” Suddenly he was on his feet, towering over her, shaking an enormous fist. “I am helping you. I am helping Faith. I am . . .” The passion drained out of him as swiftly as it had arisen. He let his fist open and fall limp against his thigh. “I am trying to go home.” Outside the window, Kollberg panted like an overheated dog. “Well,” Avery said finally. “I’m afraid you’re out of luck.” “How do you mean?” She shook her head. “You’re such a man, Professional. That’s why you can’t find this link of yours.” “I do not understand.” “Of course you don’t. That’s what I mean: You’re a man. You think this link is with the river. It wasn’t. Faith spoke of it, in the car on our way back to Boston when I first picked her up. She was quite clear about it. Her link was never with the river. It was with her mother.” “Her mother—?” “Her dead mother, now.” Tan’elKoth’s eyes narrowed. “I have been a fool,” he said. He spun and seated himself once again at Faith’s side, bending over her with redoubled energy. “Power,” he murmured. “All that is required is a usable source of power—” “What are you doing? She’s dead, Tan’elKoth. There is no link.” “Dead, yes—but the pattern of her consciousness persists, even as your son’s does within me. It was trapped at the instant of her passing. It is powerless, yes—having no body to inform it with will. It is analogous to a computer program stored on disk, you might say: a structure of information that requires only a computer on which to run, and the necessary power to activate.” “What kind of power?” From the doorway behind her, the soulless rasp of Arturo Kollberg said, “My kind of power.” DURING HIS YEARS of walking the world, the crooked knight came to find himself bemazed within a dark and trackless wood. In this wood, all paths led equally to death. The crooked knight did not lose hope; he turned to various guides for help and direction. His first guide was Youthful Dream. Later, he turned to Friendship, then Duty, and finally Reason, but each left him more lost than had the one before. So the crooked knight gave himself up for dead, and simply sat. He would be sitting there still, but for a breeze that came upon him then: a breeze that smelled of wide-open spaces, of limitless skies and bright sun, of ice and high mountains. It was the wind from the dark angel’s wings.
Matthew Woodring Stover (Blade of Tyshalle (The Acts of Caine, #2))
The luminous light that burns on the Arizona desert, out of long miles of untouched sage and sand. . . . Yes, that's where I want to be, on an observation car traveling swiftly into the Southwest. Losing myself in a shimmer of fine dust.
Elizabeth Shepley Sergeant (Shadow-Shapes the Journal of a Wounded Woman October 1918-May 1919)
It happened as it always did, swallowing her swiftly and completely. Intense. Painful. Quick, vivid colors spun beneath her eyelids. Sounds were sharp inside her skull. Fire shot up through her bones. She may have been screaming and she wouldn’t have known. There was smoke in her nose, thick and black, and she couldn’t breathe. It stung her eyes and licked at her skin. Wood and metal crashed down as skin blistered and popped and she knew this wasn’t her, knew it was someone else, someone with a bigger body, bigger boots and darker jeans, and big ol’ hands with scars on the fingers. Men’s hands. Nails blunt and dirty with oil and grease and burning and- The cars were on fire. Paper burned and curled and rags ignited, the cement floor pockmarked by flash fires. Meat withered in her nose and she realized it was her. Him. Dancing embers blackened and burned bone. He screamed and she hoped she was not. He writhed and she really hoped she was not. He was dying, dead, and-
Angele Gougeon (Sticks and Stones)
Mark stepped behind her and placed the handcuffs on her wrists. “Emily Windsor, you are under arrest for the murder of Dr. Paul Dresden, the murder of Dr. Henry Wallington and the attempted murder of Dr. Felicia Swift.” He proceeded to Mirandize her, then led her out to the awaiting patrol car.
Donna Hill (Murder in the Aisles (A Felicia Swift Mystery, #1))
Actions Summary The following list of new institutions, policies and actions is my best effort at envisaging what is required for Australia to survive the climate emergency. • A National Target and Plan for 95% or more of electricity to be supplied by renewables by 2030. • State plans to electrify all transport, beginning with the swift retirement of non-electric buses and including a plan for 50% of all new car sales to be EVs by 2030. • Implement planned changes to how we work and live so as to minimise unnecessary travel. • A plan for clean hydrogen to replace bunker fuel in shipping. • A plan for the adoption of e-fuels for aviation, with an aim to have all domestic flights running on e-fuel by 2030. • A National Commission for Climate Adaptation, with a Coastal Defence Fund and a Commission for Primary Production operating under its umbrella. • A National Initiative on Drawdown Innovation to provide leadership in early stage research and fund some on-ground projects. • The Federal Government to help convene a Global Working Group on Geoengineering.
Tim Flannery (The Climate Cure: Solving the Climate Emergency in the Era of COVID-19)
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Phyl Newton was visiting Sandy that evening, but the girls displayed a marked coolness toward Tom and Bud. Instead of engaging in conversation, they retired to Sandy's room upstairs to play records, while Mrs. Swift served the boys a warmed-up but tasty meal of roast beef and mince pie. "What's wrong? Are we repulsive or something?" Bud asked as they ate. Tom shrugged, concentrating on a mouthful of roast beef. "Search me. We sure don't seem very popular with the girls tonight." Mrs. Swift, overhearing their remarks in the kitchen, smiled but maintained a diplomatic silence. Suddenly Bud slapped his forehead. "Good night! No wonder!" Tom looked up with a grin of interest. "Well, what have we done?" "It's what we haven't done, pal!" Bud retorted. "We had a date this afternoon, remember? That beach party and dance put on by Sandy and Phyl's school sorority!" Tom gulped. "Oops! Boy, we really did pull a boner this time! I completely forgot!" As they finished supper, the boys discussed various ways to make amends. Boxes of chocolates? Flowers? None of their ideas seemed to have the proper spark. "We'll have to come up with something super," Bud said. "Right!" Tom agreed. "Let's sleep on it and see if we can't dream up something by tomorrow morning that'll really wow them." The next morning Tom had a flash of inspiration as he drove to the plant in his sports car. He hailed Bud at the first opportunity. "I
Victor Appleton II (Tom Swift and the Electronic Hydrolung)
Please take me home," she said. He turned the car and drove at a swift speed back over the silent road. And in silence they sat side by side, he in sorrow and she in hidden anger. Why, oh, why had she not spoken quickly and fended off this blow? For it would always be a blow, she could never forget that it was she who had somehow lost his love, and when love came again, she would always take it uneasily, fearful of some lack in herself be­ cause Lew had ceased to love her. True, she did not love him, but that was not the same. It was not at all the same when a woman refused a man. It did him no harm, at least not for long. But as long as a woman lived she could not for­ get. Forever there could be no friendship between Lew and her, because when she saw him she would always remember and the wound would bleed, not for love but for pride. "I shall always hate myself," he muttered in the darkness. Still she did not reply. Let him hate himself. Let him al­ways remember that he had done a hateful deed. Oh, he had the right to do it, they weren't living in yesterday, but it was strange how the old conventions held. There had been justice as well as mercy in the idea that a man must never be the one to break the bond of betrothal. He must contrive as a gentleman to let her do it. He must save her whole, because she had so little else except love and pride. The rest of the world was his, and was still his, she thought passionately, in spite of this most modem year.” ~ The Engagement
Pearl S. Buck (Fourteen Stories)
Rambling by Afaa Michael Weaver In general population, census is consensus—ain't nowhere to run to in these walls, walls like a mind— We visitors stand in a yellow circle so the tower can frisk us with light, finger the barrels on thirsty rifles. I got rambling, rambling on my mind In general population, madness runs swift through the river changing, changing in hearts, men tacked in their chairs, resigned to hope we weave into air, talking this and talking that and one brutha asks Tell us how to get these things They got, these houses, these cars. We want the real revolution. Things... I got rambling, got rambling on my mind In the yellow circle the night stops like a boy shot running from a Ruger 9mm carrying .44 magnum shells, a sista crying in the glass booth to love's law, to violence of backs bent over to the raw libido of men, cracking, cracking, crack... I got rambling, rambling on my mind
Afaa Michael Weaver (The Plum Flower Dance: Poems 1985 to 2005 (Pitt Poetry Series))
I’m watching the day through a breeze blown slice in my curtains, obscuring nothing but my hour, summer and wind making peace, moving the leaves in the trees standing guard by my window, nervous after my attempts, the sun stroking fronds but leaving others in shadows, seeing the movement of the branches but hearing nothing but the serene sound of cars beyond the garden, limbs waving to me as a bird perches, maybe scouting for a house, onto the bough scratching the glass, knocking to bring me out into contentment while tiny flies shoot in and out of view, their quick existence something I could argue as I smell the fresh air through the dour scent of a depression that hasn’t left my room in days, then swiftly feeling like I’m outside, alive and welcoming the wind to raise the hairs on my arms, a contrast that blossoms into hope.
Derek Owusu (That Reminds Me)
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Fuchs’s transfer of scientific secrets to the Soviet Union between 1941 and 1943 was one of the most concentrated spy hauls in history, some 570 pages of copied reports, calculations, drawings, formulae and diagrams, the designs for uranium enrichment, a step-by-step guide to the fast-moving development of the atomic weapon. Much of this material was too complex and technical to be coded and sent by radio, and so Ursula passed the documents to Sergei through a “brush contact,” a surreptitious handover imperceptible to a casual observer. If Ursula needed to pass on urgent information, or bulky files, she alerted Aptekar by means of an agreed “signal site”: “I had to travel to London and, at a certain time and in a certain place, drop a small piece of chalk and tread on it.” Two days later she would cycle to the rendezvous site, a side road six miles beyond the junction of the A40 and A34 on the road from Oxford to Cheltenham; Aptekar would drive from London in the military attaché’s car and arrive at the pickup site at an appointed time for a swift handover. At one of these meetings, the Soviet officer presented her with a new Minox camera for making microdots and copying documents, and a small but powerful transmitter measuring just six by eight inches, a sixth of the size of her homemade radio and easier to conceal. She dismantled her own equipment, but kept it in reserve “for emergency use.” Fuchs was privy to the innermost workings of the atomic project and he held nothing back. In the first year, he and Peierls wrote no fewer than eleven reports together, including seminal papers on isotope separation and calculating the destructive power of
Ben Macintyre (Agent Sonya: Moscow's Most Daring Wartime Spy)
And she got the feeling that Boots Smith's relationship to this swiftly moving car was no ordinary one. He wasn't just a black man driving a car at a pell-mell pace. He had lost all sense of time and space as the car plunged forward into the cold, white night. The act of driving the car made him feel he was a powerful being who could conquer the world. Up over hills, fast down on the other side. It was like playing god and commanding everything within hearing to awaken and listen to him. The people sleeping in the white farmhouses were at the mercy of the sound of his engine roaring past in the night. It brought them half-awake—disturbed, uneasy. The cattle in the barns moved in protest, the chickens stirred on their roosts and before any of them could analyze the sound that had alarmed them, he was gone—on and on into the night. And she knew, too, that this was the reason white people turned scornfully to look at Negroes who swooped past them on the highways. 'Crazy niggers with autos' in the way they looked. Because they sensed that the black men had to roar past them, had for a brief moment to feel equal, feel superior; had to take reckless chances going around curves, passing on hills, so that they would be better able to face a world that took pains to make them feel that they didn't belong, that they were inferior. Because in that one moment of passing a white man in a car they could feel good and the good feeling would last long enough so that they could hold their heads up the next day and the day after that. And the white people in the cars hated it because—and her mind stumbled over the thought and then went on—because possibly they, too, needed to go on feeling superior. Because if they didn't, it upset the delicate balance of the world they moved in when they could see for themselves that a black man in a ratclap car could overtake and pass them on a hill. Because if there was nothing left for them but that business of feeling superior to black people, and that was taken away even for the split second of one car going ahead of another, it left them with nothing.
Ann Petry (The Street)
Volterra,’ Olivia announced in a flat, icy voice. VOLTERRA- WE BEGAN THE STEEP CLIMB, AND THE ROAD GREW CONGESTED. As we wound higher, the cars became too close together for Olivia to weave insanely between them anymore. We slowed to a crawl behind a little tan Peugeot. ‘Olivia,’ I moaned. The clock on the dash seemed to be speeding up. ‘It's the only way in,’ she tried soothing me. But her voice was too strained to comfort. The cars continued to edge forward, one car length at a time. The sun beamed down brilliantly, seeming already overhead. The cars crept one by one toward the city. As we got closer, I could see cars parked by the side of the road with people getting out to walk the rest of the way. At first- I thought it was just impatience-something I could easily understand. But then we came around a switchback, and I could see the filled parking lot outside the city wall, the crowds of people walking through the gates. No one was being allowed to drive through. ‘Olivia,’ I whispered urgently. ‘I know,’ she said. Her face was chiseled from ice. Now that I was looking, and we were crawling slowly enough to see, I could tell that it was very windy. The people crowding toward the gate gripped their hats and tugged their hair out of their faces. Their clothes billowed around them. I also noticed that red was everywhere. Red shirts, red hats, red flags dripping like long ribbons beside the gate, whipping in the wind as I watched, the brilliant crimson scarf one woman had tied around her hair was caught in a sudden gust. It twisted up into the air above her, writhing like it was alive. She reached for it, jumping in the air, but it continued to flutter higher, a patch of bloody color against the dull, ancient walls. ‘Bell.’ Olivia spoke swiftly in a fierce, deep voice. ‘I can't see what the guard here will decide now-if this doesn't work, you're going to have to go in alone. You're going to have to run. Just keep running in the course they tell you to. Don't get lost.’ I repeated what I had said- the name repeatedly, trying to get it down. ‘Or 'the clock tower,' if they speak English. I'll go around and try to find a secluded spot somewhere behind the city where I can go over the wall.’ I nodded two times… ‘Marcel will be under the clock tower, to the north of the square. There's a narrow alleyway on the right, and he'll be in the shadow there. You have to get his attention before he can move into the sun.’ I nodded furiously. Olivia was near the front of the line. A man in a navy-blue uniform was directing the flow of traffic, turning the cars away from the full lot. They U-turned and headed back to find a place beside the road. Then it was Olivia's turn…
Marcel Ray Duriez
Karly- Look- at this old photo from- Nevaeh town, and her mother from the past. The uniformed man motioned lazily, not paying attention. Olivia accelerated, edging around him, and heading for the gate. He shouted something at us, All the same, and all, held his ground, waving frantically to keep the next car from following our bad example. The man at the gate wore a matching uniform. As we approached him, the throngs of tourists passed, crowding the sidewalks, staring curiously at the pushy, flashy Porsche. The guard stepped into the middle of the street before us. Olivia angled the car carefully before she came to a full stop. The sun beat against my window that I was now looking out, and she was in shadow. She swiftly reached behind the seat and grabbed something from her bag. The guard came around the car with an irritated expression and tapped on her window angrily. She rolled the window down halfway, and I watched him do a double-take when he saw the face behind the dark glass. ‘I'm sorry, only tour buses allowed in the city today, miss,’ he said in English, with a heavy accent. He was apologetic to both of us, now, as if he wished he had better news for the strikingly beautiful woman such as us. ‘It's a private tour,’ Olivia said, flashing an alluring cute flirty smile. Then and there, she reached her hand out of the window, into the sunlight. I froze some until, at that moment, I realized she was wearing an elbow-length, tan glove. She took his hand, still raised from tapping her window, and pulled it into the car some. She put something into his palm and folded his fingers around it, saying there you go. His face was dazed as he retrieved his hand and stared at the thick roll of money he now held. The outside bill was a thousand-dollar bill. ‘Is this a joke?’ He mumbled. Olivia's smile was blinding. ‘Only if you think it's funny.’ He looked at her, his eyes staring wide. I glanced nervously at the clock on the dash. If Marcel stuck to his plan, we had only five minutes left.
Marcel Ray Duriez (Nevaeh Going in and Out)
I want you to give me a straight answer," Declan said. "Are you even thinking about going to college?" "No." It was satisfying and terrible to say it out loud, a trigger pulled, the explosion over within a second. Ronan looked around for bodies. Declan swayed; the bullet have clearly at least grazed him near a vital organ. With effort, he got the arterial spray under control. "Yeah, I figured. So the endgame is making this a career for you, isn't it?" This was not, in fact, what Ronan wanted. Although he wanted to be free to dream, and free to live at the Barns, he did not want to dream in order to be able to live at the Barns. He wanted to be left alone to repair all of the buildings, to raise his father's cattle from their supernatural sleep, to populate the fields with new animals to be eaten and sold, and to turn the very rearmost field into a giant mudslick suitable for driving cars around in circles. This, to Ronan, represented a romantic ideal that he would do much to achieve. He wasn't sure how to tell his brother this in a persuasive, unembarrassing way, though, so he'd said, in an unfriendly way, "I was actually thinkin' of being a farmer." "Ronan, for fuck's sake," Declan said. "Can we have a serious conversation for one?" Ronan flipped him the bird with swift proficiency.
Maggie Stiefvater (The Raven King (The Raven Cycle, #4))
I want you to give me a straight answer," Declan said. "Are you even thinking about going to college?" "No." It was satisfying and terrible to say it out loud, a trigger pulled, the explosion over within a second. Ronan looked around for bodies. Declan swayed; the bullet have clearly at least grazed him near a vital organ. With effort, he got the arterial spray under control. "Yeah, I figured. So the endgame is making this a career for you, isn't it?" This was not, in fact, what Ronan wanted. Although he wanted to be free to dream, and free to live at the Barns, he did not want to dream in order to be able to live at the Barns. He wanted to be left alone to repair all of the buildings, to raise his father's cattle from their supernatural sleep, to populate the fields with new animals to be eaten and sold, and to turn the very rearmost field into a giant mudslick suitable for driving cars around in circles. This, to Ronan, represented a romantic ideal that he would do much to achieve. He wasn't sure how to tell his brother this in a persuasive, unembarrassing way, though, so he'd said, in an unfriendly way, "I was actually thinkin' of being a farmer." "Ronan, for fuck's sake," Declan said. "Can we have a serious conversation for once?" Ronan flipped him the bird with swift proficiency.
Maggie Stiefvater (The Raven King (The Raven Cycle, #4))
Now the cows and I were up close and personal. They were swarming my car like bees at a hive. I didn’t know how it happened—or what to do now. My windows were rolled down, and I figured I would start with just asking them to move. “Could you guys please move?” I said loudly. “I really need to get through.” I honked my horn once to emphasize my point. Nothing.
Lyla Sage (Swift and Saddled (Rebel Blue Ranch, #2))
That crazy man Swift,’ the wiseacres called him,” wrote Louis. “It was one of those things which everyone knew couldn’t be done.” One of Swift’s oldest business partners back east, James Hathaway, broke with him over it. “Hathaway knew, as did everyone else, a thousand reasons why nobody could sell Chicago-dressed beef in the East, and why the East would continue to eat meat from cattle shipped alive for slaughter at the point of consumption.” Even Swift’s own family doubted him: “ ‘Stave’s Wild West scheme’ it came to be known among the Cape Cod relatives.” Like Tudor before him, Swift didn’t listen to the doubters. (Indeed, Louis makes it clear that Swift never admitted he might be wrong, ending conversations in which it was clear he was in error by saying, “Let’s talk about something else.”) And like Tudor’s before him, his road to success was “long and wearying” and filled with more difficulties than he could have imagined. “His technical troubles with the cars and with getting the meat chilled properly before hanging it in the cars very nearly broke him,” according to Louis.
Nicola Twilley (Frostbite: How Refrigeration Changed Our Food, Our Planet, and Ourselves)
The Swift pulled over right next to her Thar. The shining black of the Thar next to the fading red of the Swift. The cars knew each other very well. They seemed to greet each other and reminisce their many nights together, standing side by side. They also appeared to regret the long hiatus in the past year when they hadn’t seen each other, not even once. If only their thoughts could be conveyed to their masters. But they seemed to cherish the present moment. Nothing could change that. They were close to one another again. They had found one another again. Maybe this moment could reshape the future. The machines hoped so and at the core of their engines that created such hopeful thoughts was the intense love of their once seemingly inseparable masters.
Udayakumar D.S. (FT Legacy 1: Who is Frank Twine?)
airship smash,” replied the lad, somewhat proudly. “It’s an oxide of nickel battery, with steel and oxide of iron negative electrodes.” “What solution do you use, Tom?” asked Mr. Swift. “I didn’t get that far in questioning you before the crash came,” he added. “Well I have, in the experimental battery, a solution of potassium hydrate,” replied the lad, “but I think I’m going to change it, and add some lithium hydrate to it. I think that will make it stronger.” “Bless my watch chain!” exclaimed Mr. Damon.
Victor Appleton (Tom Swift #5: Tom Swift and His Electric Runabout: The Speediest Car on the Road)
the Touring Club, offering a prize for the best electric car, it occurred to me that I might put my battery into an auto, and win.” “Hum,” remarked Mr. Swift musingly. “I don’t take much stock in electric autos, Tom. Gasolene seems to be the best, or perhaps steam, generated by gasolene. I’m afraid you’ll be disappointed. All the electric runabouts I ever saw, while they were very nice cars, didn’t seem able to go so very fast, or very far.” “That’s true, but it’s because they didn’t have the right kind of a battery. You know an electric locomotive can make pretty good speed, Dad. Over a hundred miles an hour in tests.” “Yes, but they don’t run by storage batteries. They have a third rail, and powerful motors,” and Mr. Swift looked quizzically at his son. He loved to argue with him, for he said it made Tom think, and often the two would thus thresh out some knotty point of an invention, to the interests of both. “Of course, Dad, there is a good deal of theory in what I’m thinking of,” the lad admitted. “But it does seem to me that if you put the right kind of a battery into an automobile, it could scoot along pretty lively. Look what speed a trolley car can make.” “Yes, Tom, but there again they get their power from an overhead wire.” “Some of them don’t. There’s a new storage battery been invented by a New Jersey man, which does as well as the third rail or the overhead wire. It was after reading about his battery that I thought of a plan for mine. It isn’t anything like his; perhaps not as good in some ways, but, for what I want, it is better in some respects, I think. For one thing it can be recharged very quickly.” “Now Tom, look here,” said Mr. Swift earnestly, laying aside his papers, and coming over to where his son sat. “You know I never interfere with your inventions. In fact, the more you think of the better I like it.
Victor Appleton (Tom Swift #5: Tom Swift and His Electric Runabout: The Speediest Car on the Road)
Why this motor has run an equivalent of two hundred miles on one charging of the battery! That’s much better than I expected. I thought if I got a hundred out of it I’d be doing well. Dad, I believe, after I improve my battery a bit, that I’ll have the very thing I want! I’ll install a set of them in a car, and it will go like the wind.
Victor Appleton (Tom Swift #5: Tom Swift and His Electric Runabout: The Speediest Car on the Road)
About how far do you expect your car will go with one charging of the battery?” “Well, if I can make it do three hundred miles I’ll be satisfied, but I’m going to try for four hundred.” “What will you do when your battery runs out?” “Recharge it.” “Suppose you’re not near a charging station?” “Well, Dad, of course those are some of the details I’ve got to work out. I’m planning a register gauge now, that will give warning about fifty miles before the battery is run down. That will leave me a margin to work on. And I’m going to have it fixed so I can take current from any trolley line, as well as from a regular charging station. My battery will be capable of being recharged very quickly, or, in case of need, I can take out the old cells and put in new ones.
Victor Appleton (Tom Swift #5: Tom Swift and His Electric Runabout: The Speediest Car on the Road)
I need a car, Wes,” Ada asserted again. “Then I’ll get you a car,” I said simply. “You’re not getting me a car,” she
Lyla Sage (Swift and Saddled (Rebel Blue Ranch, #2))
The night came on as swift and soft as a velvet dream. I was scrunched down in the front seat of my car in Neal's driveway trying to become part of the darkness.
Jim Cherry (Becoming Angel)
Kids are supposed to relax on vacations, and enjoy themselves, not sitting in the back seat of a car making peace with death and gripping a rosary because Mom is playing chicken with oncoming cars in the mountains.
Joshua David Swift (The Coolness of Josh: Expanded 10th Anniversary Edition)
She can’t decide whether to call the cops or hide the body, roll the rental car into a ditch somewhere and torch it.
Laird Barron (Swift to Chase)
Kevin Swift… where am I? What are you doing here?” “You’re awake.” Polydora’s lips twisted into a displeased frown. “Of course, I am awake. Now answer my questions.” Kevin sat down. He slowly lowered himself to the ground and crossed his legs. Polydora’s eyes watched him like a hawk. “I’m not exactly sure where to start,” Kevin said after a moment. “The place where you and I are currently staying is called New Genbu, and I’m here because Monstrang and Kuroneko asked me to try and convince Orin, one of the Four Saints, to join forces with them.” “I understand your situation. Yes, that makes sense. However, I still don’t know what I’m doing here. The last thing I remember is…” Polydora trailed off, her eyes widening as she looked at something behind Kevin. “You! You are one of the fiends who was chasing me!” Cien was unruffled by the woman’s anger. “I was. However, I am not anymore. Try not to blow your top off, old hag.” “O-old hag?!” Polydora shrieked. “I’m only twenty-two years old.” “Really?” Cien sounded surprised, but Kevin thought he saw vindictive joy gleaming in the inu’s eyes. “You certainly don’t look that young. I guess that’s what happens to women who don’t know their place.” Kevin winced. He’d noticed it before, but male inu tended to be chauvinistic, and it seemed this particular inu wasn’t going to act in a way that might have suggested otherwise. “My place?” Polydora’s glare could’ve melted steel, but Cien looked unconcerned. “And what place is that?” “In the kitchen, of course.” Oh, boy. Kevin felt sweat gather on his forehead. This isn’t going to turn out well. “In the kitchen?” Polydora was beyond angry. The look on her face, which had taken on the vibrant red hue of rage, made her appear like she was ready to murder someone. “You foul, sexist, heathen! If I hadn’t lost my weapons in our first engagement, I would kill you where you stand—where you lay!” “So, the yama uba needs her weapons to kill, does she?” Cien’s grin was the utter definition of superiority. “I guess that’s what it means to be a race of nothing but women. You need weapons to be strong.” “That does it! I think this despicable mutt needs a lesson in manners!” “Bring it on, hag! I’ll beat you to a pulp!” Before Cien or Polydora could do much more than stand up, Kevin acted. Cien was taken down with a swift kick to the stomach, while Polydora tripped when Kevin kicked the back of her foot. She fell onto her bottom with a harsh “Oof!” “That’s enough out of the both you,” Kevin said calmly. “Polydora, I understand that you’re angry, but I need him to tell me what he knows about the Yamata Alliance, or do you not want to rescue Phoebe?” Polydora, who’d been about to shout at him, snapped her mouth closed. Kevin nodded. “And you.” He pointed at Cien. “Insult one of my friends again, and I will be sure to humiliate you so thoroughly your pride will be in tatters by the time I’m done.” Cien hesitated, but then he jutted out his chin in defiance. “Just try it. There’s nothing you can do to me that you haven’t already done.” Kevin’s creepy smile made Cien lean back. “I wouldn’t be too sure of that. You forget that I’m the mate to a kitsune. Pranking is in their blood, you know? Keep insulting my friend and I’ll drug you, strip you naked, cover you in tar and feathers, attach you to the back of a car, and have it drag you through a heavily populated city. Don’t push me.” Needless to say, Cien shut up.
Brandon Varnell (A Fox's Mission (American Kitsune, #11))
Arab retribution was swift and terrible. Six days after Deir Yassin, a bus convoy carrying eighty nurses and doctors headed toward Hadassah Hospital on Mount Scopus, set off slightly from the rest of Jewish Jerusalem. To get there, the convoy had to cross through Arab neighborhoods. Therefore, several armored cars escorted the buses. But the lead armored car hit a huge mine and tumbled into a crater, blocking the rest of the vehicles. Soon, Arab gunmen swarmed over the site, screaming, “Deir Yassin!” They began shooting at the trapped convoy, killing the passengers one by one. An attempt by the Haganah to rescue the trapped convoy failed. Some Arabs reached the vehicles and set them on fire, burning the passengers inside alive. The convoy’s agony was clearly visible to the civilians watching from rooftops and balconies around the city. The shooting went on for six hours, until the British finally authorized a force large enough to extricate the convoy. By the time they arrived at the scene of the devastation, there were only six survivors. It might have seemed that the episode that began at Deir Yassin the week before was over, but it was only beginning.
Eric Gartman (Return to Zion: The History of Modern Israel)
have it all planned out.” He lifts up his hand to start listing things off. “On Monday, I was thinking Carly Rae Jepsen, then on Tuesday, some Justin Bieber—because everyone loves the Biebs—and on Wednesday I’d sing some Taylor Swift. On Thursday, I was thinking that new Selena Gomez song, it’s perfect for our situation, but Friday—” “STOP!” I yell. My hands lift up, ready to strangle him if he doesn’t stop talking. This is something I really, really need to think about. Now, he’s basically admitting to wanting to torture me with music—which is not a good thing—if I refuse him. If I do agree to the date, it’s only one night, a few hours of my life. Maybe I should just agree even if I really don’t want to. What’s the harm, really? “I will go out with you,” I relent quietly; admitting defeat, damn it. “Seriously?” Ryder’s eyes widen. He looks shocked. He looks like he didn’t expect me to cave so quickly. “Yes, if it means that I never, ever, have to hear you sing again.” I heave out a loud, rough, exaggerated sigh. “I will. One date.” The sound of his shrill squealing is on constant repeat in my brain. “No one should hear you sing. Ever again.” “That bad, huh?
Nessa Morgan (Perfectly Flawed (Flawed, #1))
I have it all planned out.” He lifts up his hand to start listing things off. “On Monday, I was thinking Carly Rae Jepsen, then on Tuesday, some Justin Bieber—because everyone loves the Biebs—and on Wednesday I’d sing some Taylor Swift. On Thursday, I was thinking that new Selena Gomez song, it’s perfect for our situation, but Friday—” “STOP!” I yell. My hands lift up, ready to strangle him if he doesn’t stop talking. This is something I really, really need to think about. Now, he’s basically admitting to wanting to torture me with music—which is not a good thing—if I refuse him. If I do agree to the date, it’s only one night, a few hours of my life. Maybe I should just agree even if I really don’t want to. What’s the harm, really? “I will go out with you,” I relent quietly; admitting defeat, damn it. “Seriously?” Ryder’s eyes widen. He looks shocked. He looks like he didn’t expect me to cave so quickly. “Yes, if it means that I never, ever, have to hear you sing again.” I heave out a loud, rough, exaggerated sigh. “I will. One date.” The sound of his shrill squealing is on constant repeat in my brain. “No one should hear you sing. Ever again.
Nessa Morgan (Perfectly Flawed (Flawed, #1))
For eighty-eight years, the world revolved around Ivy. That which she could see and touch was real to her, everything else a mere figment. Departing visitors, setting off back for their own lives, were swiftly dispatched from her conscious thoughts, taking with them all tangible evidence of their existence. She would lock her doors to the outside world and settle down with a cup of tea, but for Foggy entirely alone in her world. And yet conversely, whilst the conversation in that departing car might revolve around Ivy for a handful of miles, the reality of her existence would soon be forgotten in favor of the more immediate stresses and strains pervading the lives of Peter and Janet. Out of sight, out of mind. Every human being occupies a space at the dead center of his or her own universe.
Graeme Cameron (Normal (Normal, #1))
I wound up writing a review that asserted her greatness but also said that this was not her career album, and that she could and would do even better than this. I was in Atlanta, late at night, leaving a piano bar (don't ask), when my cell phone rang and I distractedly picked it up. 'Hello?' 'Peter Cooper?' The words came out as one: 'Petercooper?' 'Yes.' 'You better get your ass over here right now.' 'Who is this?' 'Petercooper, it's Leeannwomack. Where the hell are you?' 'I'm in Atlanta?' 'Why?' That one was hard to answer. I paused to ponder. 'Doesn't matter. Get your sorry ass over here right now.' 'I can't. I'm in Atlanta.' 'Well, get in your car and drive to Nashville. 'Cause I'm gonna give you three swift kicks to the groin.
Peter Cooper (Johnny's Cash and Charley's Pride: Lasting Legends and Untold Adventures in Country Music)
so slow is moral progress. True, we have the bicycle, the motor-car, the dirigible airship and other marvellous means of breaking our bones; but our morality is not one rung the higher for it all. One would even say that, the farther we proceed in our conquest of matter, the more our morality recedes. The most advanced of our inventions consists in bringing men down with grapeshot and explosives with the swiftness of the reaper mowing the corn.
Jean-Henri Fabre (The Life of the Spider)
There it is—his million-dollar smile. I can’t see his dimple winking at me, but I know that it is. He runs his hand through my long, thick dark-brown curls and starts to massage the back of my neck. As he leans towards me, I find myself playing with his pierced nipple. His lips are centimeters away from mine, my heart is pounding in my head, and I can barely remember to breath. His other hand slides up my bare thigh, and I close my eyes. I can feel the heat from his breath along my jaw. His lips graze the bottom of my ear lobe, and when I hear him whisper those three little words in my ear, I wonder if I am actually dreaming. When he brushes my bottom lip with his tongue, I know that I am wide awake. I can feel my heart beginning to crack, knowing that this will not be able to last much longer. He begins to graze kisses along my jaw. When our lips meet, I know that I will be broken for a long time. I could kiss him forever, and I want to, but I only have minutes. I want days. I want weeks. I want forever! As he pulls away and our eyes meet, I realize that I don’t get any of those things. All I get is one last swift kiss before he’s gone. I lie down on my bed, curl into a tight little ball, and begin to cry. When I hear his car start, I feel the crack in my chest getting bigger, and as the sounds of his engine start to dissipate, knowing that’s he’s gone, realizing that I was head over heels in love with him but didn’t tell him, that’s when my heart shatters completely.
Rachael Brownell (Holding On (Holding On, #1))
At HQ, meantime, the Dispatcher of Inspectors is cackling hatefully as he cuddles his Bradshaw's Railway Guide, for the train the inspectors will catch at Victoria has a restaurant car but it is too late for what British Rail jestingly calls "breakfast" and too early for a life-giving drink. Heh, heh! At Eastbourne, they [the bank inspectors] stamp into the bank's Market Street branch, flourishing many a dread credential and reciting an Ogden Nash-like poem which goes after this fashion: Keys, Please. Then they glance swiftly around to observe which cashier has gone green about the gills, which teller is slipping his pocket-money back into the petty-cash box and feeding the racing pages of the Daily Mirror into the shredding machine, which assistant manager is sidling out in the general direction of Gatwick Airport.
Kyril Bonfiglioli (The Great Mortdecai Moustache Mystery (Charlie Mortdecai #4))
Is that the only reason you’re helping me?” “Isn’t it enough?” “It is. I’m just wondering if there’s something else.” “No,” he harrumphed. “Wait, yes. Now I remember—I also want to fuck you again.” I tripped over my own feet, about to dive into the ground. He caught me by the hem of my shirt, jerking me upright. I’ll always catch you. When have I ever let you take the hit for something, Dot? “You did not just say that.” I slapped branches out of my way as I regained my balance. “Did too. Fair warning—I want much more than fucking this time around. I want dates. I want laughs. I want you to be honest with me. All the stuff that freaks you out for some reason. No strings attached. No commitment. Just fun. A perfect do-over.” “Why do you need a do-over?” “So my last memory of us won’t be you almost vomiting because we had sex.” “I almost vomited because your sister caught us!” I shrieked. “Which is exactly why this won’t happen again. You’re high if you think I’m betraying her trust a second time around.” “Thought you’d say that. I have great news for you.” “What?” “She no longer gives a fuck.” “That’s not tru—” “It is. Ask her yourself.” The confidence with which he’d said that made my heart twist like Play-Doh. What had changed between then and now? Why was she okay with us hooking up all of a sudden? “Why wouldn’t she care?” I asked in a panic. “Because it no longer matters.” “How c—” “Come on, Bitchy. Put two and two together.” Bitchy. He’d called me Bitchy. The rain intensified, knocking on our faces. I skidded to an abrupt stop. A wave of memories crashed into me all at once, nearly knocking me down on my ass. Everything became crystal clear in one swift moment. Row defending me when Dylan caught us having sex. Row teaching me how to slow dance in his room before my very first prom because I knew I would be too terrified to ever dance with anyone else and didn’t want to miss out. Row and I sitting on the hood of his car, in front of an endless ocean, the moon, and the stars. Me saying, “Isn’t it beautiful?” and him answering, “Yes, you are.” Row being essentially in love with me. I couldn’t even touch the other revelation right now. It was too much to process. Bitchy. Bitchy. Bitchy. McMonster. Selfless, sweet McMonster. Who seemed to know me inside out. Who could read me like an open book. Could it be? But it couldn’t be. No. It couldn't. Not him. not the shinest boy in Staindrop. "No more running." I planted my feet on the pavement, clutching my knees, panting. Tears prickled the back of my eyeballs. Row looked on high alert. Neither of us seemed ready to acknowledge the fact that he was McMonster and I was Bitchy. For the first time since I'd known him, he looked like a boy. Not a heartthrob, not a world-famous chef, not a formidable boss-- just a boy.
L.J. Shen (Truly Madly Deeply (Forbidden Love, #1))