Travel Reels Quotes

My head reeled at the sheer and startling beauty, the wide, bare openness of it. The sense of space, the vastness of the sky above and on either side made my heart race, I would have travelled a thousand miles to see this. I had never imagined such a place.

This is continuity, you travel, perhaps in your mind, a paper world real, God reeling up and down landscapes and buildings, knocks down, opens new roads, doesn’t like it, changes again, but there isn’t a seam, His world is onefold, and you perceive neither seam nor contradiction, continuity only.

Ah, Momma. I had never looked at death before, peered into its yawning chasm for the face of a beloved. For days my mind staggered out of balance. I reeled on a precipice of knowledge that even if I were rich enough to travel all over the world, I would never find Momma. If I were as good as God’s angels and as pure as the Mother of Christ, I could never have Momma’s rough slow hands pat my cheek or braid my hair. Death to the young is more than that undiscovered country; despite its inevitability, it is a place having reality only in song or in other people's grief.

One of the things about Irish music is how one tune can enter another. You can begin with one reel, and with no clear intention of where you will be going after that, but halfway through it will sort of call up the next so that one reel becomes another and another after that, and unlike the clear-edged definitions of songs, the music keeps linking, making this sound-map even as it travels it, so player and listener are taken away and time and space are defeated. You’re in an elsewhere. Something like that. Which, I suppose, is both my method and aim in telling this story too. Anyway,

You’re a projectionist and you’re tired and angry, but mostly you’re bored so you start by taking a single frame of pornography collected by some other projectionist that you find stashed away in the booth, and you splice this frame of a lunging red penis or a yawning wet vagina close-up into another feature movie. This is one of those pet adventures, when the dog and cat are left behind by a traveling family and must find their way home. In reel three, just after the dog and cat, who have human voices and talk to each other, have eaten out of a garbage can, there’s the flash of an erection. Tyler does this.

florens would sigh then, her head on lina's shoulder and when sleep came the little girl's smiel lingered. mother hunger – to be one or have one – both of them were reeling from that longing which, lina knes, remained alive, traveling to the bone.

And in that moment, I saw the horizon unbounded and I reeled with the vastness of it. What new shores would I discover if I could only travel those few inches? A storm—a tempest in the pit of my stomach—but I was the skiff tossed on the waves, and my father’s lesson like thunder in my ears: don’t get too close. Still, the temptation was there.

It was the my-father-got-rid-of-my-piano story; something she’d share one day with her college roommates, her husband, her children, and her psychiatrist. It would earn a few crucial frames in her final reel of memories and travel with her into the next life. When it comes to the bad stuff, there’s nothing too small that’s not worth dwelling on forever. I say, anyway.

Nora Ephron is a screenwriter whose scripts for Silkwood, When Harry Met Sally, and Sleepless in Seattle have all been nominated for Academy Awards. Ephron started her career as a journalist for the New York Post and Esquire. She became a journalist because of her high school journalism teacher. Ephron still remembers the first day of her journalism class. Although the students had no journalism experience, they walked into their first class with a sense of what a journalist does: A journalists gets the facts and reports them. To get the facts, you track down the five Ws—who, what, where, when, and why. As students sat in front of their manual typewriters, Ephron’s teacher announced the first assignment. They would write the lead of a newspaper story. The teacher reeled off the facts: “Kenneth L. Peters, the principal of Beverly Hills High School, announced today that the entire high school faculty will travel to Sacramento next Thursday for a colloquium in new teaching methods. Among the speakers will be anthropologist Margaret Mead, college president Dr. Robert Maynard Hutchins, and California governor Edmund ‘Pat’ Brown.” The budding journalists sat at their typewriters and pecked away at the first lead of their careers. According to Ephron, she and most of the other students produced leads that reordered the facts and condensed them into a single sentence: “Governor Pat Brown, Margaret Mead, and Robert Maynard Hutchins will address the Beverly Hills High School faculty Thursday in Sacramento. . .blah, blah, blah.” The teacher collected the leads and scanned them rapidly. Then he laid them aside and paused for a moment. Finally, he said, “The lead to the story is ‘There will be no school next Thursday.’” “It was a breathtaking moment,” Ephron recalls. “In that instant I realized that journalism was not just about regurgitating the facts but about figuring out the point. It wasn’t enough to know the who, what, when, and where; you had to understand what it meant. And why it mattered.” For the rest of the year, she says, every assignment had a secret—a hidden point that the students had to figure out in order to produce a good story.

Turn it beautiful. His words came faintly at first, but they came again and again, always softly, always with the insistence of an elder commanding wisdom. Turn it all to beauty. She walked to the rail. When she turned and sat upon it, she heard a sailor in the crowd murmur that she might play them a tune. She hoped he was right. She needed the voices to be wrong. Fin raised the instrument to the cleft of her neck and closed her eyes. She emptied her mind and let herself be carried back to her earliest memory, the first pain she ever knew: the knowledge that her parents didn’t want her. The despair of rejection coursed through her. It fathered a knot of questions that bound her, enveloped her. Waves of uncertainty and frailty shook her to the bones. Her body quivered with anger and hopelessness. She reeled on the edge of a precipice. She wanted to scream or to throw her fists but she held it inside; she struggled to control it. She fought to subjugate her pain, but it grew. It welled up; it filled her mind. When she could hold it no more, exhausted by defiance and wearied by years of pretending not to care, Bartimaeus’s words surrounded her. Got to turn it beautiful. She dropped her defenses. She let weakness fill her. She accepted it. And the abyss yawned. She tottered over the edge and fell. The forces at war within her raced down her arms and set something extraordinary in motion; they became melody and harmony: rapturous, golden. Her fingers coaxed the long-silent fiddle to life. They danced across the strings without hesitation, molding beauty out of the miraculous combination of wood, vibration, and emotion. The music was so bright she felt she could see it. The poisonous voices were outsung. Notes raged out of her in a torrent. She had such music within her that her bones ached with it, the air around her trembled with it, her veins bled it. The men around fell still and silent. Some slipped to the deck and sat enraptured like children before a travelling bard.

Just as they reached the door to the accommodation section, it opened, and a small boy towing a travel bag along the floor behind him came through. A small dog poked his head out of one end of this bag—the pup had been zipped up inside. “Out of the way, son,” Harper said. The child stopped, and gaped up at the battle-archon. Behind him, his trapped pup growled. The rear end of the leather and cloth satchel oscillated wildly. “I wanted to see the angel,” the boy said. “Aunt Edith promised I could watch it kill something.” Hasp halted, still reeling, and looked down at the boy and his pet. “You want to see me kill?” he muttered. “Then order me to do so. You’re all Menoa’s fucking people on this train.” The boy brightened. “Do it!” he said. “Kill something now.” “As you wish.” Hasp kicked the dog with all of the strength he could muster. Had the animal been made of tougher stuff than flesh and bone, or had its bag been composed of something more substantial than woven thread, it might have made an impact hard enough to shatter the glass wall at the end of the corridor sixty feet away. Instead, the creature and the torn remains of its embroidered travel bag spattered against the opposite end of the passage in a series of wet smacks, more like a shower of red rain than anything resembling the corpse of a dog. The boy screamed. Hasp cricked his neck, then shoved the child aside and stomped away, his transparent armour swimming with rainbows.

I look around and see many shelters and services for survivors of domestic violence, but no large-scale movement to end male violence. I see many batterer intervention programs, but few men involved in challenging sexism. The loss of vision that narrowed the focus of men's work reflects a change that occurred in other parts of the movement to end violence, as activists who set out to change the institutions perpetrating violence settled into service jobs helping people cope. [...] Social service work addresses the needs of individuals reeling from the personal and devastating impact of institutional systems of exploitation and violence. Social change work challenges the root causes of the exploitation and violence. In my travels throughout the United States, I talk with many service providers, more and more of whom are saying to me, "We could continue doing what we are doing for another hundred years and the levels of violence would not change. I meet more and more people who are running programs for batterers who say ,"We are only dealing with a minute number of the men who are violent and are having little impact on the systems which perpetuate male violence." [...] While there is some overlap between social service provision and social change work, the two do not necessarily go readily together. In our violent world, the needs and numbers of survivors are never ending, and the tasks of funding, staffing, and developing resources for our organizations to meet those needs are difficult, poorly supported, and even actively undermined by those with power and wealth in our society. Although some groups are both working for social change and providing social services, there are many more groups providing social services that are not working for social change. In fact, many social service agencies may be intentionally or inadvertently working to maintain the status quo. After all, the non-profit industrial complex (NPIC) wouldn't exist without a lot of people in desperate straits. The NPIC provides jobs; it provides opportunities for professional development. It enables those who do the work to feel good about what we do and about our ability to help individuals survive in the system. It gives a patina of caring and concern to the ruling class which funds the work.

Mummy’s seen so much of the world, lived in so many different places,” I said. I reeled a few off. Raymond, surprisingly, looked distinctly unimpressed. “How old is your mum?” he said. I was taken aback. How old was she? I started to work it out. “So . . . I’m thirty, and I think she must have had me when she was very young—nineteen, twenty? So she’ll be . . . I’d guess she’d be in her early fifties now, something like that?” Raymond nodded. “Right,” he said. “So . . . I’m wondering . . . I mean, I don’t have kids, so what would I know—but I imagine it can’t be easy, lodging in an opium den in Tangier if you’ve got a toddler with you? Or . . . what was the other thing? Working as a blackjack dealer in Macao?” He spoke very gently, as though he were afraid to upset me. “I mean, if you added up all the things she said she’d done, wouldn’t it cover a longer period than thirty years? Unless she did it all before you were born and she was still a teenager. And if she did . . . well, I’m wondering . . . where did she get the money from, to do all that traveling, and wasn’t she a bit young to be going to places like that on her own at that age? What about your dad? Where did she meet him?” I looked away. These were important questions that I couldn’t answer. Questions I wasn’t sure I wanted to answer. But really, why hadn’t I ever thought about them before?

to look at Louisa, stroked her cheek, and was rewarded by a dazzling smile. She had been surprised by how light-skinned the child was. Her features were much more like Eva’s than Bill’s. A small turned-up nose, big hazel eyes, and long dark eyelashes. Her golden-brown hair protruded from under the deep peak of her bonnet in a cascade of ringlets. “Do you think she’d come to me?” Cathy asked. “You can try.” Eva handed her over. “She’s got so heavy, she’s making my arms ache!” She gave a nervous laugh as she took the parcel from Cathy and peered at the postmark. “What’s that, Mam?” David craned his neck and gave a short rasping cough. “Is it sweets?” “No, my love.” Eva and Cathy exchanged glances. “It’s just something Auntie Cathy’s brought from the old house. Are you going to show Mikey your flags?” The boy dug eagerly in his pocket, and before long he and Michael were walking ahead, deep in conversation about the paper flags Eva had bought for them to decorate sand castles. Louisa didn’t cry when Eva handed her over. She seemed fascinated by Cathy’s hair, and as they walked along, Cathy amused her by singing “Old MacDonald.” The beach was only a short walk from the station, and it wasn’t long before the boys were filling their buckets with sand. “I hardly dare open it,” Eva said, fingering the string on the parcel. “I know. I was desperate to open it myself.” Cathy looked at her. “I hope you haven’t built up your hopes, too much, Eva. I’m so worried it might be . . . you know.” Eva nodded quickly. “I thought of that too.” She untied the string, her fingers trembling. The paper fell away to reveal a box with the words “Benson’s Baby Wear” written across it in gold italic script. Eva lifted the lid. Inside was an exquisite pink lace dress with matching bootees and a hat. The label said, “Age 2–3 Years.” Beneath it was a handwritten note:   Dear Eva, This is a little something for our baby girl from her daddy. I don’t know the exact date of her birthday, but I wanted you to know that I haven’t forgotten. I hope things are going well for you and your husband. Please thank him from me for what he’s doing for our daughter: he’s a fine man and I don’t blame you for wanting to start over with him. I’m back in the army now, traveling around. I’m due to be posted overseas soon, but I don’t know where yet. I’ll write and let you know when I get my new address. It would be terrific if I could have a photograph of her in this little dress, if your husband doesn’t mind. Best wishes to you all, Bill   For several seconds they sat staring at the piece of paper. When Eva spoke, her voice was tight with emotion. “Cathy, he thinks I chose to stay with Eddie!” Cathy nodded, her mind reeling. “Eddie showed me the letter he sent. Bill wouldn’t have known you were in Wales, would he? He would have assumed you and Eddie had already been reunited—that he’d written with your consent on behalf of you both.” She was afraid to look at Eva. “What are you going to do?” Eva’s face had gone very pale. “I don’t know.” She glanced at David, who was jabbing a Welsh flag into a sand castle. “He said he was going to be posted overseas. Suppose they send him to Britain?” Cathy bit her lip. “It could be anywhere, couldn’t it? It could be the other side of the world.” She could see what was going through Eva’s mind. “You think if he came here, you and he could be together without . . .” Her eyes went to the boys. Eva gave a quick, almost imperceptible nod, as if she was afraid someone might see her. “What about Eddie?” “I don’t know!” The tone of her voice made David look up. She put on a smile, which disappeared the

They simply kept replaying an old reel. Imagination is absolutely critical to the quality of our lives. Our imagination enables us to leave our routine everyday existence by fantasizing about travel, food, sex, falling in love, or having the last word—all the things that make life interesting. Imagination gives us the opportunity to envision new possibilities—it is an essential launchpad for making our hopes come true. It fires our creativity, relieves our boredom, alleviates our pain, enhances our pleasure, and enriches our most intimate relationships

He knew he was reeling down in Mary's estimation and he wanted her to love him and to admire him. At the same time there was a fine steel wire of truthfulness in him that cut off the heads of fast-traveling lies.

Now, whenever she smelled the gums, the balsams, and the special aromatics that arrived with merchants from afar, her head reeled with images of temples, shrines, palaces, fortresses, mysterious walls, tapestries, paintings, jewels, liquors, icons, drugs, dyes, meats, sweets, sweetmeats, silks, bolts and bolts of cotton cloth, ores, shiny metals, foodstuffs, spices, musical instruments, ivory daggers and ivory dolls, masks, bells, carvings, statues (ten times as tall as she!), lumber, leopards on leashes, peacocks, monkeys, white elephants with tattooed ears, horses, camels, princes, maharajah, conquerors, travelers (Turks with threatening mustaches and Greeks with skin as pale as the stranger who had befriended her at the funeral grounds), singers, fakirs, magicians, acrobats, prophets, scholars, monks, madmen, sages, saints, mystics, dreamers, prostitutes, dancers, fanatics, avatars, poets, thieves, warriors, snake charmers, pageants, parades, rituals, executions, weddings, seductions, concerts, new religions, strange philosophies, fevers, diseases, splendors and magnificences and things too fearsome to be recounted, all writhing, cascading, jumbling, mixing, splashing, and spinning; vast, complex, inexhaustible, forever.

Mother hunger - to be one or have one - both of them were reeling from that long which, Lina knew, remained alive, traveling the bone.

travels down to his black athletic shorts and I snort. “Is that a banana in your pocket or are you just happy to see me?” The words are out of my mouth before I can reel them in. Sleep-deprived Henley equals loopy Henley. Graeme’s lips twitch and the dimple in his chin deepens. “You’re lucky I didn’t record that. Human resources wouldn’t approve of such innuendo.” My chest tightens for only a heartbeat before Graeme pulls a perky yellow banana from his pocket with a wink. Unpeeling it, he lifts it to his mouth, but pauses before taking a bite.

I am surprised that General Ruin, when she was in zero gee in outer space, did not fall in the direction we call “space-down,” travelling in the same direction as the bombs dropped from bomber ships in reel one. We all know objects in outer space are pulled by gravity from the top of the screen to the bottom.

Cosmic Voyager by Stewart Stafford I was the new Ulysses, Petals on a tide of darkness, Cast to bloom among the stars, Wilted, off the world's edge. Lieutenant General Tommy P., Name, rank and serial oblivion, My wife and hurricanes called me, Memories of love kept me going. I found myself fading adrift, Dying far beyond the reach, Of human hands and hearts, In withering away, I found all. They threw flags of all nations, To reel in a drowning person; One last breath for man, One lungful of air for Mankind. Falling from a height too high, Never landing when I should, Tumbling endlessly beyond nausea, To an ethereally crowded firmament. As water swirls down a plughole, I touched the edges of existence, And found the meaning of life, In silent rocks of an alien planet. In the speckled starling womb profound, Self-love filled the void around. © Stewart Stafford, 2023. All rights reserved.

Most of us have sometime or other visited a great metropolis - have wondered through its network of streets - lost ourselves in its crowds of people - looked up at its tall rows of houses, its grand public buildings, churches and squares. Also, perhaps, we have peeped into its miserable little back alleys, where dirty children play in gutters all day and half the night - or where men reel tipsy and women fight - where even young boys go about picking pockets, with nobody to tell them it is wrong, except the policeman, and he simply takes them of to prison. And all this wretchedness is close behind the grandeur - like the two sides of the leaf of a book.

Nearly every horror theme and twist of plot is prefigured in these one-reel, seven- to eight-minute experiments of early filmmakers. Here are the seeds of feature-length horror subjects to come—murder, madness, curses, black magic, vampires, ghosts, mummies, werewolves, monsters, giant insects, demons, telepathy, time travel, waxworks, chambers of horrors, and even the perils of hypnosis and mind control (George du Maurier’s 1894 novel Trilby, featuring the evil mesmerist Svengali, was a bestseller, and was adapted many times for film).

Despite his late and haphazard start, Cecchini also became a renowned teacher of both jazz and classical guitar. Students traveled from out of state to pick his brain, and by the early 1980s lines formed down the stairs of his Chicago school in the evenings. His own formal training, of course, had been those free clarinet lessons. “I’d say I’m 98 percent self-taught,” he told me. He switched between instruments and found his way through trial and error. It might sound unusual, but when Cecchini reeled off legends he played with or admired, there was not a Tiger among them.

It all started when World Vision, a humanitarian organization I had long supported and even traveled with, announced a change to its hiring policy allowing people in same-sex marriages to work in its US offices. In response, conservative evangelicals rallied in protest, and within seventy-two hours, more than ten thousand children had lost their financial support from cancelled World Vision sponsorships. Ten thousand children. To try and stem some of the bleeding, I joined with several other World Vision bloggers to encourage my readers to sponsor children or make one-time donations to the organization, which was reeling as church after church called to cut off funding. We had raised several thousand dollars and multiple sponsorships when the CEO of World Vision announced the charity would reverse its decision and return to its old policy against gay and lesbian employees. It had worked. Using needy kids as bargaining chips in the culture war had actually worked.

I’ve not only learned the name of the dead girl, but I also know where she lives.” Falco arched an eyebrow. “All that, and you still found the time to bat your eyelashes at some traveling con man? That is impressive.” “I wasn’t batting anything,” Cass said. “I was appreciating his performance. Come on. I’ll fill you in on the way to her place.” As the two passed the conjurer, Falco’s grip on her was so tight, she was afraid he was going to leave a bruise. “Good-bye, Maximus,” she called behind her. “Thank you for the magic.” Outside the house, Falco kept his hand wrapped around Cass as they headed down the marble staircase. The tall boy in the vest was gone. “So who’s Paolo?” she asked, pausing at the bottom of the steps to catch her breath. The night had definitely taken a turn for the better. “My roommate,” Falco answered shortly. “Friendly,” Cass said, remembering how the boy had looked straight through her. “Seems to me you have no shortage of admirers,” Falco said. And then, abruptly: “You know conjurers are nothing but common criminals, right? I’d check your pockets--I wouldn’t be surprised if several coins are missing.” Cass’s eyes widened. “I believe I’ve heard the same about artists. And it almost sounds like…But surely it’s not in the nature of a patron of a common prostitute to be jealous.” One of her ankles wobbled, and Cass had to grab on to Falco’s waist to keep from falling over. Falco pushed her away playfully and then pulled her tightly to his chest. “Funny,” he whispered in her ear. “But I doubt there’s anything common about you.” He shook his dark hair back from his face. “Ready to get serious now?” “What do you mean, Master?” she asked, half reeling from the heat of Falco’s breath on her jawbone. A rush of warmth surged through her body. “You’re the one who figured out where our murdered prostitute lived,” Falco said. “Lead the way, Signorina Avogadore.” Falco linked his arm through hers.

Jon reeled, as Lex’s dark psyche began infecting him like an emotional contagion. As usual, the physical symptoms came first: his heart rate ramped up and caffeine jitters buzzed down to his fingertips. He knew how this dinner would go, and after traveling for twenty-six hours, he simply didn’t have it in him. Thankfully, he’d had a lifetime of practice bowing out of social situations.

Moon Fishing" When the moon was full they came to the water. some with pitchforks, some with rakes, some with sieves and ladles, and one with a silver cup. And they fished til a traveler passed them and said, "Fools, to catch the moon you must let your women spread their hair on the water — even the wily moon will leap to that bobbing net of shimmering threads, gasp and flop till its silver scales lie black and still at your feet.” And they fished with the hair of their women till a traveler passed them and said, "Fools, do you think the moon is caught lightly, with glitter and silk threads? You must cut out your hearts and bait your hooks with those dark animals; what matter you lose your hearts to reel in your dream?” And they fished with their tight, hot hearts till a traveler passed them and said, "Fools, what good is the moon to a heartless man? Put back your hearts and get on your knees and drink as you never have, until your throats are coated with silver and your voices ring like bells.” And they fished with their lips and tongues until the water was gone and the moon had slipped away in the soft, bottomless mud.

My mind reeled. Such a find would rock the Cairo community, and scores of foreigners would travel to Egypt wanting a piece of history.

When I was a kid people used to say one could travel the entire world just by sitting in a library and reading books. Sadly, in the age of billionaire-controlled social media functioning and governing bodies and minds based on carefully engineered algorithms, I don’t believe this is true anymore. The saying should be revised in our times to be ‘one could hate the entire world and see everyone as a villain or an enemy just by browsing through reels and social posts carefully selected to confirm one’s limited knowledge, perspective, and prejudices.’ With that in mind, we need more than ever to master the art of traveling, whether we go near or far. We need to undo the unreasonable, amplified, and exaggerated fear of strangers." [From “Can We Travel Without Being Tourists?” published on CounterPunch on March 15, 2024]