Toothless Grin Quotes

We've searched our database for all the quotes and captions related to Toothless Grin. Here they are! All 13 of them:

Do you know, Mother, that Haj Salem was buried alive in his home? Does he tell you stories in heaven now? I wish I had had a chance to meet him. To see his toothless grin and touch his leathery skin. To beg him, as you did in your youth, for a story from our Palestine. He was over one hundred years old, Mother. To have lived so long, only to be crushed to death by a bulldozer. Is this what it means to be Palestinian?
Susan Abulhawa (Mornings in Jenin)
It is our custom to consume the person we love. Taboo flesh: swollen genitalia nipples the scrotum the vulva the soles of the feet the palm of the hand heart and liver taste best. Cannibalism is blessed. I'll wear your jawbone round my neck listen to your vertebrae bone tapping bone in my wrists. I'll string your fingers round my waist - what a rigorous embrace. Over my heart I'll wear a brooch with a lock of hair. Nights I'll sleep cradling your skull sharpening my teeth on your toothless grin. Sundays there's Mass and communion and I'll put your relics to rest.
Gloria E. Anzaldúa (Borderlands/La Frontera: The New Mestiza)
Suffering is part of life,' she said. 'All the parts of life are jumbled up together; you can't separate out just the one thing.' She parred his hand again, kindly. 'I could let you kill me now, lovely man, and have peace and good dreams forever. But who knows what I get instead, if I stay? Maybe time to see a new grandchild. Maybe a good joke that sets me laughing for days. Maybe another handsome young fellow flirting with me.' She grinned toothlessly, then let loose another horrible, racking cough. Ehiru steadies her with shaking hands. 'I want every moment of my life, pretty man, the painful and the sweet alike. Until the very end. If these are all the memories I get for eternity, I want to take as many of them with me as I can.
N.K. Jemisin (The Killing Moon (Dreamblood, #1))
Boys, men, old toothless women had run along beside the car when the train was again in motion, calling, offering bananas, guavas, mangoes, paper cones of flavored ice, Jello shimmering on the palm of a hand, lifting something up to him and fumbling his money, running faster to give him his change, or slower, grinning, shrugging, as the train pulled away. Somewhere he had bought half a roasted cow's head and eaten it held by the horn with a newspaper on his lap. What had caused the diarrhea he did not know.
Leonard Gardner (Fat City)
Mr Wonka Goes Too Far The last time we saw Charlie, he was riding high above his home town in the Great Glass Lift. Only a short while before, Mr Wonka had told him that the whole gigantic fabulous Chocolate Factory was his, and now our small friend was returning in triumph with his entire family to take over. The passengers in the Lift (just to remind you) were: Charlie Bucket, our hero. Mr Willy Wonka, chocolate-maker extraordinary. Mr and Mrs Bucket, Charlie’s father and mother. Grandpa Joe and Grandma Josephine, Mr Bucket’s father and mother. Grandpa George and Grandma Georgina, Mrs Bucket’s father and mother. Grandma Josephine, Grandma Georgina and Grandpa George were still in bed, the bed having been pushed on board just before take-off. Grandpa Joe, as you remember, had got out of bed to go around the Chocolate Factory with Charlie. The Great Glass Lift was a thousand feet up and cruising nicely. The sky was brilliant blue. Everybody on board was wildly excited at the thought of going to live in the famous Chocolate Factory. Grandpa Joe was singing. Charlie was jumping up and down. Mr and Mrs Bucket were smiling for the first time in years, and the three old ones in the bed were grinning at one another with pink toothless gums. ‘What in the world keeps this crazy thing up in the air?’ croaked Grandma Josephine. ‘Madam,’ said Mr Wonka, ‘it is not a lift any longer. Lifts only go up and down inside buildings. But now that it has taken us up into the sky, it has become an ELEVATOR. It is THE GREAT GLASS ELEVATOR.
Roald Dahl (Charlie and the Great Glass Elevator (Charlie Bucket, #2))
I would rather face the devil himself than that man,” Elizabeth said with a repressed shudder. “I daresay,” Lucinda agreed, clutching her umbrella with one hand and the side of the cart with her other. The nearer the time came, the more angry and confused Elizabeth became about this meeting. For the first four days of their journey, her tension had been greatly allayed by the scenic grandeur of Scotland with its rolling hills and deep valleys carpeted in bluebells and hawthorne. Now, however, as the hour of confronting him drew near, not even the sight of the mountains decked out in spring flowers or the bright blue lakes below could calm her mounting tension. “Furthermore, I cannot believe he has the slightest desire to see me.” “We shall soon find out.” In the hills above the high, winding track that passed for a road, a shepherd paused to gape at an old wooden wagon making its laborious way along the road below. “Lookee there, Will,” he told his brother. “Do you see what I see?” The brother looked down and gaped, his lips parting in a toothless grin of glee at the comical sight of two ladies-bonnets, gloves, and all-who were perched primly and precariously on the back of Sean MacLaesh’s haywagon, their backs ramrod-stiff, their feet sticking straight out beyond the wagon. “Don’t that beat all,” Will laughed, and high above the haywagon he swept off his cap in a mocking salute to the ladies. “I heered in the village Ian Thornton was acomin’ home. I’ll wager ‘e’s arrived, and them two are his fancy pieces, come to warm ‘is bed an’ see to ‘is needs.” Blessedly unaware of the conjecture taking place between the two spectators up in the hills, Miss Throckmorton-Jones brushed angrily and ineffectually at the coating of dust clinging to her black skirts. “I have never in all my life been subjected to such treatment!” she hissed furiously as the wagon they were riding in gave another violet, creaking lurch and her shoulder banged into Elizabeth’s. “You may depend on this-I shall give Mr. Ian Thornton a piece of my mind for inviting two gentlewomen to this godforsaken wilderness, and never even mentioning that a traveling baroche is too wide for the roads!” Elizabeth opened her mouth to say something soothing, but just then the wagon gave another teeth-jarring lurch, and she clutched at the wooden side. “From what little I know of him, Lucy,” she managed finally when the wagon righted, “he wouldn’t care in the least what we’ve been through. He’s rude and inconsiderate-and those are his good points-“ “Whoa there, whoa,” the farmer called out, sawing back on the swayback nags reins and bringing the wagon to a groaning stop. “That’s the Thornton place up there atop yon hill,” the farmer said, pointing.
Judith McNaught (Almost Heaven (Sequels, #3))
Gegyen told us that the sound of the bell was the sounds of emptiness and represented feminine wisdom. Leaning back and squinting so that his eyes practically disappeared, he said, "All that appears as solid is merely appearing and has no essential nature. What we think of as real is like the places and people we see in dreams." Then he laughed, grinning toothlessly, and looked at us nodding, "Ok, let's do that again.
Tsultrim Allione (Feeding Your Demons: Ancient Wisdom for Resolving Inner Conflict)
in Banjo on My Knee (December 11, 1936). He plays Joel McCrea’s father, a wizened old river denizen and musician who goes off in search of his son, who is himself looking for his estranged wife (Barbara Stanwyck). Brennan dominates scene after scene. He becomes iconic, the very spirit of the fiercely independent and rugged river people. William Faulkner was assigned this picture, and though he was taken off it early, the spirit of the novelist’s country people seems to suffuse Brennan’s performance. He plays a character thirty years older than his actual age—not through makeup or mannerisms, so much as with his reedy voice, semi-toothless grin, and adroitly mussed and thinning hair, all of which projects an age-old and indomitable presence. When Brennan gets to Memphis, just north of Faulkner’s Jefferson, Mississippi, he becomes a hit performer after a club owner discovers him. Brennan’s performance on banjo, harmonica, drums, and various other instruments—while also singing the “Saint Louis Blues”—is pure vaudeville, which is to say, pure Walter Brennan. And it’s worth noting that the scene is also a ruse, since Brennan played no instruments; six musicians actually produced the sound that seems to be coming out of his nimble fingers.
Carl Rollyson (A Real American Character: The Life of Walter Brennan (Hollywood Legends))
Sagrib brought the saw up against the man’s throat and hacked it back and forth. The rusty blade chewed deep into the flesh and the chief gasped involuntary as the jagged teeth tore through his jugular and windpipe. Crimson blood spewed out of the horrific wound as Sagrib sawed through the spine, laughing like a mad man as the tribal elder gurgled. Garang screamed and thrashed against the men holding him. The baton returned, smashing his legs out from under him. The guards beat him savagely while Sagrib continued to hack at the once proud elder’s head. The old man died without so much as a whimper. The last thing Garang saw before he succumbed to unconsciousness was Sagrib holding the severed head aloft, his uniform drenched in blood, toothless mouth grinning.
Jack Silkstone (PRIMAL Vengeance (PRIMAL #3))
Eleanora's toothless mouth worked furiously, grinding her lips over gums, as she glared Irv's way. "I do not like him," She muttered to Rosa out of the corner of her frown. "He is cheeky." "Hear that?" Rip grinned, making no attempts to hide his visible amusement at Irv's expense. "You are cheeky.
Stacey Rourke (Crane (The Legends Saga, #1))
tunic, with breath that could warp glass, grinning a toothless grin.
Thomas K. Carpenter (Warmachines of Alexandria (Alexandrian Saga #4))
Your heavenly Father knoweth that ye have need of all these things. —Matthew 6:32 (KJV) How am I going to keep doing this, God?” I shot the prayer up under my breath. The stock market had been frenetic, and the global economy was stoking the fire. As an investment adviser, my job was to manage my clients’ savings as well as their expectations. While I love what I do, sometimes the stress of it all becomes overwhelming. As the closing bell rang, I decided to call it a day. At home, I was eager to spend a little time with our six-month-old baby girl. “Daddy’s got you, Mary Katherine!” I swooped my daughter up in the air and smiled as I looked into her bright hazel eyes. She cooed back at me with a big, toothless grin. I could feel my stress melt away as she giggled and squealed. Before long, her happy cheer turned into a fussy whine. I knew this meant “Daddy, I’m sleepy.” It was nap time. I fed her a bottle and gently patted her back until she burped. Then I rocked her for a bit, and soon she was sound asleep. “There are few things as peaceful as a sleeping baby,” I said to my wife, Corinne, as I walked into the kitchen. “So how was work?” she asked, sensing my weariness. “Stressful.” She smiled and rolled her eyes. “Brock, you just spent an hour taking great care of Mary Katherine. God has been taking care of you for forty years! Do you think He is going to stop now?” Suddenly, my burden felt a bit lighter. Daddy’s got you, Mary Katherine, I thought to myself, and my Father in heaven has me too. Father, sometimes even a grown-up needs a daddy. Thanks for being mine. —Brock Kidd Digging Deeper: Phil 4:19; 1 Jn 3:1
Guideposts (Daily Guideposts 2014)
Toothless grins are cute on babies, but on geriatric gas-station attendants, they’re creepy as hell.
Adam Millard (Larry)