Tomcat In Love Quotes

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The world shrieks and sinks talons into our hearts. This we call memory.
Tim O'Brien (Tomcat in Love)
Words, too, have genuine substance -- mass and weight and specific gravity.
Tim O'Brien (Tomcat in Love)
Each of us, I suppose needs his illusions. Life after death. A maker of planets. A woman to love, a man to hate. Something sacred. But what a waste.
Tim O'Brien (Tomcat in Love)
Can a word stop your heart as surely as arsenic?
Tim O'Brien (Tomcat in Love)
The days seemed to stretch out toward infinity, blank and humid, without purpose, and at night I was kept awake by the endless drone of mosquitoes and helicopters. (Why wars must be contested under such conditions I shall never understand. Is not death sufficient?)
Tim O'Brien (Tomcat in Love)
Every dark cloud may well have its silver lining, but I have come to learn that every silver lining has its dark consequences.
Tim O'Brien (Tomcat in Love: A Novel)
But this, too, was a performance.
Tim O'Brien (Tomcat in Love: A Novel)
What is love, for God's sake, if not the most distilled obsession?
Tim O'Brien (Tomcat in Love)
I am forever astonished at the longevity of childhood. How it never ends. How we are what we were. How turtles and engines and stolen kisses leave their jet trail across our gaping lives.
Tim O'Brien (Tomcat in Love)
With the confidence and peace of mind native to true genius, I lay my life story before the world, so that the reader may learn how to educate himself to be a great tomcat, may recognize the full extent of my excellence, may love, value, honour and admire me- and worship me a little. Should anyone be audacious enough to think of casting doubt on the sterling worth of this remarkable book, let him reflect that he is dealing with a tomcat possessed of intellect, understanding, and sharp claws.
E.T.A. Hoffmann (The Life and Opinions of the Tomcat Murr)
My sole fond memory from this period is of a rubbery little Appalachian number by the name of June. Acrobatic tongue. Tooth decay. Illiterate in everything but love.
Tim O'Brien (Tomcat in Love)
Everybody warns about bad influences, but it’s these things already inside you that are going to take you down. The restlessness in your gut, like tomcats gone stupid with their blood feuds, prowling around in the moon-dead dark. The hopeless wishes that won’t quit stalking you: some perfect words you think you could say to somebody to make them see you, and love you, and stay. Or could say to your mirror, same reason. Some people never want like that, no reaching for the bottle, the needle, the dangerous pretty face, all the wrong stars. What words can I write here for those eyes to see and believe? For the lucky, it’s simple. Like the song says, this little light of mine. Don’t let Satan blow it out. Look farther down the pipe, see what’s coming. Ignore the damn tomcats. Quit the dope.
Barbara Kingsolver (Demon Copperhead)
Mrs. Kooshof's intolerance for complexity, for the looping circuitry of a well-told tale, symptomizes an epidemic disease of our modern world. (I see it daily among my students. The short attention span, the appetite limited to linearity. Too much Melrose Place.)
Tim O'Brien (Tomcat in Love)
I heard water evaporating. I heard the tick of my own biology.
Tim O'Brien (Tomcat in Love)
And, ach! what a beautiful skeleton you will make! And very soon, too, because you do not smile on your madly loving Svengali. You burn his letters without reading them! You shall have a nice little mahogany glass case all to yourself in the museum of the École de Médecine, and Svengali shall come in his new fur-lined coat, smoking his big cigar of the Havana, and push the dirty carabins* out of the way, and look through the holes of your eyes into your stupid empty skull, and up the nostrils of your high, bony sounding-board of a nose without either a tip or a lip to it, and into the roof of your big mouth, with your thirty-two big English teeth, and between your big ribs into your big chest, where the big leather lungs used to be, and say, “Ach! what a pity she had no more music in her than a big tom-cat!” And then he will look all down your bones to your poor crumbling feet, and say, “Ach! what a fool she was not to answer Svengali’s letters!
George du Maurier (Trilby)
Well, I hope that I don't fall in love with you Cause falling in love just makes me blue Well, the music plays and you display your heart for me to see I had a beer and now I hear you calling out for me And I hope that I don't fall in love with you Well, the room is crowded, people everywhere And I wonder, should I offer you a chair? Well, if you sit down with this old clown, I'll take that frown and break it Before the evening's gone away, I think that we can make it And I hope that I don't fall in love with you Well, the night does funny things inside a man These old tomcat feelings you don't understand Well, I turn around to look at you, you light a cigarette I wish I had the guts to bum one, but we've never met And I hope that I don't fall in love with you I can see that you are lonesome just like me And it being late, you'd like some company Well, I turn around to look at you, and you look back at me The guy you're with he's up and split, the chair next to you is free And I hope that you don't fall in love with me Now it's closing time, the music's fading out Last call for drinks, I'll have another stout Well, I turn around to look at you, you're nowhere to be found I search the place for your lost face, guess I'll have another round And I think that I just fell in love with you
Tom Waits
How I Got That Name Marilyn Chin an essay on assimilation I am Marilyn Mei Ling Chin Oh, how I love the resoluteness of that first person singular followed by that stalwart indicative of “be," without the uncertain i-n-g of “becoming.” Of course, the name had been changed somewhere between Angel Island and the sea, when my father the paperson in the late 1950s obsessed with a bombshell blond transliterated “Mei Ling” to “Marilyn.” And nobody dared question his initial impulse—for we all know lust drove men to greatness, not goodness, not decency. And there I was, a wayward pink baby, named after some tragic white woman swollen with gin and Nembutal. My mother couldn’t pronounce the “r.” She dubbed me “Numba one female offshoot” for brevity: henceforth, she will live and die in sublime ignorance, flanked by loving children and the “kitchen deity.” While my father dithers, a tomcat in Hong Kong trash— a gambler, a petty thug, who bought a chain of chopsuey joints in Piss River, Oregon, with bootlegged Gucci cash. Nobody dared question his integrity given his nice, devout daughters and his bright, industrious sons as if filial piety were the standard by which all earthly men are measured. * Oh, how trustworthy our daughters, how thrifty our sons! How we’ve managed to fool the experts in education, statistic and demography— We’re not very creative but not adverse to rote-learning. Indeed, they can use us. But the “Model Minority” is a tease. We know you are watching now, so we refuse to give you any! Oh, bamboo shoots, bamboo shoots! The further west we go, we’ll hit east; the deeper down we dig, we’ll find China. History has turned its stomach on a black polluted beach— where life doesn’t hinge on that red, red wheelbarrow, but whether or not our new lover in the final episode of “Santa Barbara” will lean over a scented candle and call us a “bitch.” Oh God, where have we gone wrong? We have no inner resources! * Then, one redolent spring morning the Great Patriarch Chin peered down from his kiosk in heaven and saw that his descendants were ugly. One had a squarish head and a nose without a bridge Another’s profile—long and knobbed as a gourd. A third, the sad, brutish one may never, never marry. And I, his least favorite— “not quite boiled, not quite cooked," a plump pomfret simmering in my juices— too listless to fight for my people’s destiny. “To kill without resistance is not slaughter” says the proverb. So, I wait for imminent death. The fact that this death is also metaphorical is testament to my lethargy. * So here lies Marilyn Mei Ling Chin, married once, twice to so-and-so, a Lee and a Wong, granddaughter of Jack “the patriarch” and the brooding Suilin Fong, daughter of the virtuous Yuet Kuen Wong and G.G. Chin the infamous, sister of a dozen, cousin of a million, survived by everbody and forgotten by all. She was neither black nor white, neither cherished nor vanquished, just another squatter in her own bamboo grove minding her poetry— when one day heaven was unmerciful, and a chasm opened where she stood. Like the jowls of a mighty white whale, or the jaws of a metaphysical Godzilla, it swallowed her whole. She did not flinch nor writhe, nor fret about the afterlife, but stayed! Solid as wood, happily a little gnawed, tattered, mesmerized by all that was lavished upon her and all that was taken away!
Marilyn Chin
With the motto “do what you will,” Rabelais gave himself permission to do anything he damn well pleased with the language and the form of the novel; as a result, every author of an innovative novel mixing literary forms and genres in an extravagant style is indebted to Rabelais, directly or indirectly. Out of his codpiece came Aneau’s Alector, Nashe’s Unfortunate Traveller, López de Úbeda’s Justina, Cervantes’ Don Quixote, Béroalde de Verville’s Fantastic Tales, Sorel’s Francion, Burton’s Anatomy, Swift’s Tale of a Tub and Gulliver’s Travels, Fielding’s Tom Jones, Amory’s John Buncle, Sterne’s Tristram Shandy, the novels of Diderot and maybe Voltaire (a late convert), Smollett’s Adventures of an Atom, Hoffmann’s Tomcat Murr, Hugo’s Hunchback of Notre-Dame, Southey’s Doctor, Melville’s Moby-Dick, Flaubert’s Temptation of Saint Anthony and Bouvard and Pecuchet, Twain’s Adventures of Huckleberry Finn, Frederick Rolfe’s ornate novels, Bely’s Petersburg, Joyce’s Ulysses, Witkiewicz’s Polish jokes, Flann O’Brien’s Irish farces, Philip Wylie’s Finnley Wren, Patchen’s tender novels, Burroughs’s and Kerouac’s mad ones, Nabokov’s later works, Schmidt’s fiction, the novels of Durrell, Burgess (especially A Clockwork Orange and Earthly Powers), Gaddis and Pynchon, Barth, Coover, Sorrentino, Reed’s Mumbo Jumbo, Brossard’s later works, the masterpieces of Latin American magic realism (Paradiso, The Autumn of the Patriarch, Three Trapped Tigers, I the Supreme, Avalovara, Terra Nostra, Palinuro of Mexico), the fabulous creations of those gay Cubans Severo Sarduy and Reinaldo Arenas, Markson’s Springer’s Progress, Mano’s Take Five, Ríos’s Larva and otros libros, the novels of Paul West, Tom Robbins, Stanley Elkin, Alexander Theroux, W. M. Spackman, Alasdair Gray, Gaétan Soucy, and Rikki Ducornet (“Lady Rabelais,” as one critic called her), Mark Leyner’s hyperbolic novels, the writings of Magiser Gass, Greer Gilman’s folkloric fictions and Roger Boylan’s Celtic comedies, Vollmann’s voluminous volumes, Wallace’s brainy fictions, Siegel’s Love in a Dead Language, Danielewski’s novels, Jackson’s Half Life, Field’s Ululu, De La Pava’s Naked Singularity, and James McCourt’s ongoing Mawrdew Czgowchwz saga. (p. 331)
Steven Moore (The Novel: An Alternative History: Beginnings to 1600)
One: A Book Is A Universe and the Universe is a Book. Inside a book, any Physiks or Magical Laws or Manners or Histories may hold sway. A book is its own universe and while in it, you must play by their rules. More or less. Some of the more modern novels are lenient on this point and have very few policemen to spare. This is why sometimes, when you finish a book, you feel strange and woozy, as though you have just woken up. Your body is getting used to the rules and your own universe again. And your own universe is just the biggest and longest and most complicated book ever written—except for all the other ones. This is also why books along the walls make a place feel different—all those universes, crammed into one spot! Things are bound to shift and warp and hatch schemes! Two: Books Are People. Some are easy to get along with and some are shy, some are full of things to say and some are quiet, some are fanciful and some are plainspoken, some you will feel as though you've known forever the moment you open the cover, and some will take years to grow into. Just like people, you must be introduced properly and sit down together with a cup of something so that you can sniff at each other like tomcats but lately acquainted. Listen to their troubles and share their joys. They will have their tempers and you will have yours, and sometimes you will not understand a book, nor will it understand you—you can't love all books any more than you can love every stranger you meet. But you can love a lot of them. And the love of a book is a precious, subtle, strange thing, well worth earning, And just like people, you are never really done with a book—some part of it will stay with you, gently changing the way you see and speak and know. Three: People Are Books. This has two meanings. The first is: Every person is a story. They have a beginning and a middle and an end (though some may have sequels and series).They have motifs and narrative tricks and plot twists and daring escapes and love lost and love won. The rules of books are the rules of life because a book must be written by a person alive, and an alive person will usually try to tell the truth about the world, even if they dress it up in spangles and feathers. The other meaning is: When you read a book, it is not only a story. It is never only a story. Exciting plots may occur, characters suffer and triumph, yes, It is a story. But it is also a person speaking to you, directly to you. A person far away, perhaps in time, perhaps in space, perhaps both. A person who wanted to say something so loud that everyone could hear it. A book is a time-travelling teleportation machine. And there's millions and millions of them! When you read a book, you have a conversation with the person who wrote it. And that conversation is never quite the same twice. Every single reader has a different chat, because they are different people with different histories and ideas in their heads. Why, you cannot even have the same conversation with the same book twice! If you read a book as a child, and again as a Grown-Up, it will be something altogether other. New things will have happened to you, new folk will have come into your life and taught you wild and wonderful notions you never thought of before. You will not be the same person—and neither will the book. When you read, know that someone somewhere wrote those very words just for you, in hopes that you would find something there to take with you in your own travels through time and space.
Catherynne M. Valente (The Girl Who Fell Beneath Fairyland and Led the Revels There (Fairyland, #2))
Donley loved the flight deck. It excited him. A rush. He had some misgivings about navy life, but he craved the action on deck. Few things compared to the raw power of an F-14 Tomcat in afterburner. The intense heat. The smell of jet fuel. It felt like a monster truck rally with him in the middle of the action.
Darren Sapp (Fire on the Flight Deck)
He can be a mystery. There’s more to Preacher than... You really care about him?” “I do.” “Then you be patient. He’ll come around. Paige, it’s obvious—he cares about you, too. You and Christopher. I’ve never seen him like this with anybody.” “Maybe he wants to be sure I’m not just—” Mike was shaking his head. “He wants to be sure of himself, Paige. Preacher’s real cautious. I think the man could be terrified of disappointing you. That’s my bet.” “He couldn’t possibly,” she said, and a tear fell again. Mike wiped it away. “You just have to trust me on this—he’s a bundle of nerves. He’s really good in a fight, really good in a war, and who’da guessed how good a cook he turned out to be, huh? But with women? Paige—he’s never been a hustler. I don’t know of any women. He’s never been that kind of guy. Just not a tomcat like some of the rest of us.” “That’s one of the things I love most,” she whispered. Mike smiled. “You give him some time, huh?” She nodded. She smiled weakly. Mike dropped a brotherly kiss on her forehead. “It’s going to be all right.” “You think so?” “Oh, yeah. Just hang in there. Don’t give up on him.” Mike thought, that lucky son of a bitch. This woman adored him. Wanted nothing so much as to make him happy all night long. “Go wash your face. I’m gonna get myself a beer.” He gave her shoulders a final squeeze, and as she turned away from him, Preacher was standing in the back door with his catch. Paige skittered past Preacher, keeping her head down so that he wouldn’t see her tears. Preacher scowled at Mike. “Need something?” he asked. “I need a beer before I walk over to Doc’s and let Mel torture me. Want me to get it myself?” “Help yourself,” he said, throwing his fish in the big sink. Jack
Robyn Carr (Shelter Mountain (Virgin River, #2))
Brie is back in town. She’s with Mike.” “Really?” Mel said, suddenly giving him her attention. She closed the laptop and put it aside. “I haven’t seen her. When I was leaving the bar, her Jeep was parked next to Mike’s car. She came to Mike. Not to us—to Mike.” She shrugged. “Well, that makes sense. He loves her.” “How do you know that?” Jack asked. “How could you not?” she asked. Jack sat back on the couch. “I thought he was just trying to get laid.” “That’s pretty irrelevant,” she said, laughing. “You’re all trying to get laid. Some of you actually love the women you’re trying to get close to.” “You act like we’re all just a bunch of bulls being led around by our dicks.” She laughed at him, gleefully for a woman who was annoyed to be pregnant, and moody to boot. “Do I? I wonder why?” “So you think this makes sense?” “Extraordinary sense. It even makes me nostalgic.” That caused him to smile devilishly. “Nostalgic enough to take me to bed?” “Tell me something—are you letting go of this weird control thing you have over Brie?” “Yeah,” he said, almost tiredly. “It’s not like I haven’t wanted her to have a full life. I thought she was going to have that with Brad, the shit. It was Mike who worried me—he’s been such a frickin’ tomcat.” He glanced at his wife’s disapproving expression. “Yeah, yeah, let’s not go over that again. We all made our rounds.” “I doubt he made any more rounds than you,” she said. “It was just the marriages that got under my skin,” he said. “So help me God, if he marries her and walks away from her, I am going to kill him.” “Looks to me like he’s totally sunk,” she said. “A complete goner.” “Fine,
Robyn Carr (Whispering Rock (Virgin River, #3))
Tomcat,” he said. “Help Jon out of his clothing.” Jon’s heart hit a new peak rate as he watched Tom turn around and look at him intently. He was absolutely gorgeous, and terribly intimidating; the tattoos on his bronze skin outlined and enhanced Tom’s musculature, making him seem even more brawny than he was, while his green-blue eyes recalled the warm waters of the tropics. Though Tom was staring at him with open desire, there was also the hint of how completely astounded and still somewhat skeptical of the situation he was. Jon wanted to recapture those stolen moments during the storm, but with the captain present, how were they supposed to… “Tom?” repeated Baltsaros from the bed. Tom stepped forward as if pushed, and he grinned despite the tension in the room. Ducking his head, he reached for the front of Jon’s grey shirt and undid the laces holding the neck closed. When he saw the terrible scar on Jon’s chest, Tom’s eyes flicked up to his in concern; Jon just shook his head and smiled grimly. Later. Tom’s brows came down, and he suddenly leaned forward to capture Jon’s mouth with his own, urgent and protective. The bigger man’s hands came around him as he savaged Jon’s lips and yanked his shirt free of his pants; Tom released him only long enough to pull it over his head before pressing himself hard against Jon again. Jon was flooded with relief. He had not been wrong about Tom’s feelings for him.
Bey Deckard (Caged: Love and Treachery on the High Seas (Baal's Heart, #1))
big tomcat marking his territory. “It’s Sunday,” I tell him, lowering my hand when he opens his eyes. “So yes, I’m not going anywhere. What’s for breakfast?” He grins and steps back, releasing me. “Ricotta pancakes. You hungry?” “I could definitely eat,” I admit, and watch his metallic eyes brighten with pleasure. I sit down as he grabs plates for both of us and sets them on the table. Though he only came back for me last Tuesday, he’s already completely at home in my tiny kitchen, his movements as smooth and confident as if he’s been living here for months. Watching him, I again get the unsettling sensation that a dangerous predator has invaded my small apartment. Partially, it’s his size—he’s at least a head taller than I am, his shoulders impossibly broad, his elite soldier’s body packed with hard muscle. But it’s also something about him, something more than the tattoos that decorate his left arm or the faint scar that bisects his eyebrow. It’s something intrinsic, a kind of ruthlessness that’s there even when he smiles. “How are you feeling, ptichka?” he asks, joining me at the table, and I look down at my plate, knowing why he’s concerned. “Fine.” I don’t want to think about yesterday, about how Agent Ryson’s visit had literally made me sick. I’d already been anxious about the wedding, but it wasn’t until the FBI agent slapped me in the face with Peter’s crimes that I lost the contents of my stomach—and nearly stood Peter up. “No ill effects from last night?” he clarifies, and I look up, my face heating as I realize he’s referring to our sex life. “No.” My voice is choked. “I’m fine.” “Good,” he murmurs, his gaze hot and dark, and I hide my intensifying blush by reaching for a ricotta pancake. “Here, my love.” He expertly plates two pancakes for me and pushes a bottle of maple syrup my way. “Do you want anything else? Maybe some fruit?” “Sure,” I say and watch as he walks over to the fridge to take out and wash some berries. My domesticated assassin. Is this what our life
Anna Zaires (Tormentor Mine: The Complete Series)
Everybody warns about bad influences, but it’s these things already inside you that are going to take you down. The restlessness in your gut, like tomcats gone stupid with their blood feuds, prowling around in the moon-dead dark. The hopeless wishes that won’t quit stalking you: some perfect words you think you could say to somebody to make them see you, and love you, and stay. Or could say to your mirror, same reason.
Barbara Kingsolver (Demon Copperhead)
Anyhow, I've begun on the story we discussed. I will not refer specifically to what you said, but I've decided that it will have as its author Hawthorne Abendsen, the novelist in my novel MAN IN THE HIGH CASTLE who wrote THE GRASSHOPPER LIES HEAVY. I wrote & wrote . . . after all, I wrote my 4th novel EYE IN THE SKY in two weeks, so this merely shows I'm in love with what I'm doing. The title of Abendsen's yarn is, "A Man For No Countries," because he is unwanted in the USA where the Asshole Axis rule, and certainly not in Europe where Germany rules from . . . I did bio notes, the uncorrected carbons of which I'm enclosing; they were improved in a second draft, and can/will be cut as needed. And, as to the story, I finished the holographic first draft last night about the time our tomcat Pinky wants indoors to be fed, which is quite late, and at which time nothing, even Pinky, gets me out of bed. It is a short story, but I think a lot of it, Phil. I really do, and when I turn out a lousy one I usually know it and the other way around. I'll send you a carbon of the final, not of the rough, since the rough is in holo. Now, a technical problem. To whom do I send the yarn when I'm done? By contract, it must be to Scott Meredith; that is determined by law. But my own name must be on it, on the far left upper corner, not under the title, so he can see who sent it, and hence pay me. That is, receive pay. Who does pay, by the way? Ed Ferman or whoever buys it (if anyone)? Does it just go onto the market like all stories, OR—and this is crucial, maybe—should I mention to Scott Meredith that you should be involved . . . without mentioning certain details held in confidence between us? How do I handle it? I will sell it, in any case; I wrote MAN IN THE HIGH CASTLE in 1961 and ever since "they" have begged (well, asked me) to do more as a sequel. This story is in fact a follow-up, of Abendsen's life since, besides being an intrinsic plot-idea-theme story. So it'll sell, and Ed Ferman does like my stuff; he has commissioned a set of three stories from me, the last three I have done, including one for FINAL STATE or EDGE or whatever with Malzberg, and so would tend to want to buy it. So advise me, as I type up the final. And thanks for getting my literary ass in gear; God bless, Phil. [The story was never completed or published.]
Philip K. Dick (The Selected Letters, 1974)