Tractor Inspirational Quotes

I wanted to touch the edges of my life - the same instinct, I think, that inspires young mortals to flip tractors and enlist in foreign wars.

So, a little desperate and surprisingly inspired, I bought a cap. Not just any cap. I picked one with a bright-gold visor, a gold button at the top, a crown of navy blue, an American flag on the left temple, and—on the forehead emblem—a spread-winged eagle over a rising sun and a red-and-green tractor-trailer and the white letters “America— Spirit of Freedom.” On the back, over my cerebellum, was a starred banner in blue, white, red, green, and gold that said “Carnesville, GA Petro.” I put on that hat and disappeared. The glances died like flies. I could sit anywhere, from Carnesville to Tacoma. In Candler, North Carolina, while Ainsworth was outside fuelling the truck, I sat inside in my freedom hat saying “Biscuits and gravy” to a waitress. She went “Oooooo wheeeee” and I thought my cover wasn’t working, but a trucker passing her had slipped his hand between the cheeks of her buttocks, and she did not stop writing.

Elle, you are going to have experiences others only dream of. You will visit Fiori, where the flowers are as big as tractor tires. You will sail on the back of a giant turquoise bird and catch an elevator made of a spider's web. You will ride on the back of Pegasus and be protected by a powerful warrior named Amadeus. You will save so many children as you grow into adulthood. Your mother and I will be so proud of you.

The good news was, there is much fine literature to draw from in the American South, many inspiring works, like 'She Thinks My Tractor's Sexy' by the esteemed agrarian poet, Kenneth Chesney.

All the art experts, all the big galleries, if not maybe quite all of the humble folk who look at them, agree Jackson Pollock’s splatter paintings do indeed count as great art. And JP intended it to be art too. But what’s curious about most of the most radical artists of the post-Second World War period is that they came from nowhere to prominence with the support of . . . the CIA! Yes, the American secret services actively promoted (through books, funding schemes, newspapers and of course galleries) radical art as part of a labyrinthine strategy to undermine the Soviet Union. This was all part of a special strategy to win over intellectuals – including philosophers – described as ‘the battle for Picasso’s mind’ by one former CIA agent, Thomas Braden, in a television interview in the 1970s. Tom Braden was responsible for dispensing money under the heading Congress for Cultural Freedom. Naturally, most of the people he gave money to had no idea that the funds, and hence the artistic direction, actually came from the CIA. Intellectuals and great artists, after all, hate being told what to think. And what was the communist empire doing meanwhile? They were promoting, through galleries, public funding and so on, a very different kind of art supposedly reflecting communist political values. ‘Soviet realism’ was a kind of reaction to ‘Western Impressionism’ (all those dotty – pointilliste the art-experts call them – landscapes and swirling, subjective shapes) and ensured that people in the paintings looked like people, decent, hard-working types too, and what’s more were doing worthy things – like making tractors or (at least) looking inspirationally at the viewer. When Soviet art wasn’t figurative (as this sort of stuff is called), it was very logical and mathematical, full of precise geometrical shapes and carefully weighted blocks of colour.