Trucks Birthday Quotes

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Later, at the sink in our van, Mama rinsed the blue stain and the odd spiders, caterpillars, and stems from the bucket. "Not what we usually start with, but we can go again tomorrow. And this will set up nicely in about six, eight jars." The berries were beginning to simmer in the big pot on the back burner. Mama pushed her dark wooden spoon into the foaming berries and cicrcled the wall of the pot slowly. I leaned my hot arms on the table and said, "Iphy better not go tomorrow. She got tired today." I was smelling the berries and Mamaa's sweat, and watching the flex of the blue veins behind her knees. "Does them good. The twins always loved picking berries, even more than eating them. Though Elly likes her jam." "Elly doesn't like anything anymore." The knees stiffened and I looked up. The spoon was motionless. Mama stared at the pot. "Mama, Elly isn't there anymore. Iphy's changed. Everything's changed. This whole berry business, cooking big meals that nobody comes for, birthday cakes for Arty. It's dumb, Mama. Stop pretending. There isn't any family anymore, Mama." Then she cracked me with the big spoon. It smacked wet and hard across my ear, and the purple-black juice spayed across the table. She started at me, terrified, her mouth and eyes gaping with fear. I stared gaping at her. I broke and ran. I went to the generator truck and climbed up to sit by Grandpa. That's the only time Mama ever hit me and I knew I deserved it. I also knew that Mama was too far gone to understand why I deserved it. She'd swung that spoon in a tigerish reflex at blasphemy. But I believed that Arty had turned his back on us, that the twins were broken, that the Chick was lost, that Papa was weak and scared, that Mama was spinning fog, and that I was an adolescent crone sitting in the ruins, watching the beams crumble, and warming myself in the smoke from the funeral pyre. That was how I felt, and I wanted company. I hated Mama for refusing to see enough to be miserable with me. Maybe, too, enough of my child heart was still with me to think that if she would only open her eyes she could fix it all back up like a busted toy.
Katherine Dunn (Geek Love)
the rain hitting my truck like rubber bullets. the grind of the leather on the steering wheel in my fist. The slosh of the rain under the tires as I charge down the highway, my engine rumbling like a lullaby.
Penelope Douglas (Birthday Girl)
Standing there at Powell’s grave, telling my nephew about a buried skull, I realize how much of our relationship revolves around body parts and severed heads. Once Owen learned to walk, we started playing a game I call Frankenstein, in which I am Frankenstein’s monster and I chase him around trying to harvest his organs and appendages because my master is building another boy. “Frankenstein needs your spleen,” I yell, aping the voice of an announcer at a monster truck rally. “Give me your spleen!” Which is why the seemingly gross book I gave him for his birthday, a collection of poetry for children called The Blood-Hungry Spleen was actually a sentimental choice, even though my sister tells me it didn’t go over so well when he brought it to preschool.
Sarah Vowell (Assassination Vacation)
Twas the night before Christmas, and all through the base Only sentries were stirring--they guarded the place. At the foot of each bunk sat a helmet and boot For the Santa of Soldiers to fill up with loot. The soldiers were sleeping and snoring away As they dreamed of “back home” on good Christmas Day. One snoozed with his rifle--he seemed so content. I slept with the letters my family had sent. When outside the tent there arose such a clatter. I sprang from my rack to see what was the matter. Away to the window I flew like a flash. Poked out my head, and yelled, “What was that crash?” When what to my thrill and relief should appear, But one of our Blackhawks to give the all clear. More rattles and rumbles! I heard a deep whine! Then up drove eight Humvees, a jeep close behind… Each vehicle painted a bright Christmas green. With more lights and gold tinsel than I’d ever seen. The convoy commander leaped down and he paused. I knew then and there it was Sergeant McClaus! More rapid than rockets, his drivers they came When he whistled, and shouted, and called them by name: “Now, Cohen! Mendoza! Woslowski! McCord! Now, Li! Watts! Donetti! And Specialist Ford!” “Go fill up my sea bags with gifts large and small! Now dash away! Dash away! Dash away, all!” In the blink of an eye, to their trucks the troops darted. As I drew in my head and was turning around, Through the tent flap the sergeant came in with a bound. He was dressed all in camo and looked quite a sight With a Santa had added for this special night. His eyes--sharp as lasers! He stood six feet six. His nose was quite crooked, his jaw hard as bricks! A stub of cigar he held clamped in his teeth. And the smoke, it encircled his head like a wreath. A young driver walked in with a seabag in tow. McClaus took the bag, told the driver to go. Then the sarge went to work. And his mission today? Bring Christmas from home to the troops far away! Tasty gifts from old friends in the helmets he laid. There were candies, and cookies, and cakes, all homemade. Many parents sent phone cards so soldiers could hear Treasured voices and laughter of those they held dear. Loving husbands and wives had mailed photos galore Of weddings and birthdays and first steps and more. And for each soldier’s boot, like a warm, happy hug, There was art from the children at home sweet and snug. As he finished the job--did I see a twinkle? Was that a small smile or instead just a wrinkle? To the top of his brow he raised up his hand And gave a salute that made me feel grand. I gasped in surprise when, his face all aglow, He gave a huge grin and a big HO! HO! HO! HO! HO! HO! from the barracks and then from the base. HO! HO! HO! as the convoy sped up into space. As the camp radar lost him, I heard this faint call: “HAPPY CHRISTMAS, BRAVE SOLDIERS! MAY PEACE COME TO ALL!
Trish Holland (The Soldiers' Night Before Christmas (Big Little Golden Book))
SELF-HELP FOR FELLOW REFUGEES If your name suggests a country where bells might have been used for entertainment, or to announce the entrances and exits of the seasons and the birthdays of gods and demons, it's probably best to dress in plain clothes when you arrive in the United States. And try not to talk too loud. If you happen to have watched armed men beat and drag your father out the front door of your house and into the back of an idling truck, before your mother jerked you from the threshold and buried your face in her skirt folds, try not to judge your mother too harshly. Don't ask her what she thought she was doing, turning a child's eyes away from history and toward that place all human aching starts. And if you meet someone in your adopted country and think you see in the other's face an open sky, some promise of a new beginning, it probably means you're standing too far. Or if you think you read in the other, as in a book whose first and last pages are missing, the story of your own birthplace, a country twice erased, once by fire, once by forgetfulness, it probably means you're standing too close. In any case, try not to let another carry the burden of your own nostalgia or hope. And if you're one of those whose left side of the face doesn't match the right, it might be a clue looking the other way was a habit your predecessors found useful for survival. Don't lament not being beautiful. Get used to seeing while not seeing. Get busy remembering while forgetting. Dying to live while not wanting to go on. Very likely, your ancestors decorated their bells of every shape and size with elaborate calendars and diagrams of distant star systems, but with no maps for scattered descendants. And I bet you can't say what language your father spoke when he shouted to your mother from the back of the truck, "Let the boy see!" Maybe it wasn't the language you used at home. Maybe it was a forbidden language. Or maybe there was too much screaming and weeping and the noise of guns in the streets. It doesn't matter. What matters is this: The kingdom of heaven is good. But heaven on earth is better. Thinking is good. But living is better. Alone in your favorite chair with a book you enjoy is fine. But spooning is even better.
Li-Young Lee (Behind My Eyes: Poems)
This thinking is well-intended but overly simplistic, reminiscent perhaps of the four-year-old who proudly presents his mother with a red truck for her birthday because that is the present he wants. So the best managers reject the Golden Rule. Instead, they say, treat each person as he would like to be treated, bearing in mind who he is.
Marcus Buckingham (First, Break All the Rules: What the World's Greatest Managers Do Differently)
Jason grins. “I’d never miss your birthday. Remember last year?” “Ugh! I thought I’d never thaw out after we went skiing in a blizzard. We were stranded for three days in that cabin we found in the woods.” “Aw, come on, you didn’t even get frostbite. I took care of you.” “At least I didn’t end up with any broken limbs. That time.” “I still can’t believe we went snow-boarding on East Pillar Mountain Loop. That’s a tough trail, and then you broke your arm slipping in the parking lot on the way to the truck.” My muscles were exhausted, and carrying my board on my shoulder, I wasn’t watching where I was going. I didn’t see the patch of ice. “Remember when you took me spelunking?” “I had no idea that bear was in there.” “I can’t remember ever being that scared.” “But it was fun! Come on. We can’t break tradition.
Rita J. Webb (Playing Hooky (Paranormal Investigations, #1))
Stewart and his producers put their heads together and handpicked a roundtable of first responders to appear on a panel to tell their stories. A few days later, Congress ferried the bill through a vote and passed it. The local firemen were so thrilled that they threw a birthday party for Stewart’s daughter at the firehouse—complete with a fire truck–shaped birthday cake—and Robert J. Thompson, a professor at Syracuse University, instantly vaulted him to having the same status and influence as both Walter Cronkite and Edward R. Murrow, veteran newsmen who used their influence to turn around, respectively, a war and a government witch hunt.
Lisa Rogak (Angry Optimist: The Life and Times of Jon Stewart)
Emily My sneakers hit the pavement and my heart slams like the truck door behind me. "Watch it!" My cousin and best friend Erick hops out of the drivers' side, reprimanding me at the same time. Sensitive about his truck. "Sorry," I mutter. The dim, enclosed parking garage puts me on edge. It's a perfect place for vampires. But it's early afternoon, not their prime hunting time. The upscale Austin, Texas, mall parking lot is packed with sedans and trucks. I sling a motorcycle helmet into the bed of the truck, where it joins the massive four-wheeler we just spent an exhilarating morning breaking in. A gift for his eighteenth birthday a couple of months ago. For my eighteenth, I'm getting a night
Lacy Yager (Rival (Unholy Alliance #2))
Mostly, they were ashamed of us. Our floppy straw hats and threadbare clothes. Our heavy accents. Every sing oh righ? Our cracked, callused palms. Our deeply lined faces black from years of picking peaches and staking grape plants in the sun. They longed for real fathers with briefcases who went to work in a suit and tie and only mowed the grass on Sundays. They wanted different and better mothers who did not look so worn out. Can't you put on a little lipstick? They dreaded rainy days in the country when we came to pick them up after school in our battered old farm trucks. They never invited over friends to our crowded homes in J-town. We live like beggars. They would not be seen with us at the temple on the Emperor's birthday. They would not celebrate the annual Freeing of the Insects with us at the end of summer in the park. They refused to join hands and dance with us in the streets on the Festival of the Autumnal Equinox. They laughed at us whenever we insisted that they bow to us first thing in the morning and with each passing day they seemed to slip further and further from our grasp.
Julie Otsuka (The Buddha in the Attic)
It was the birthday the boy had chosen for himself, and the sky, as the old man had promised, was clear. They ate breakfast in the twilight of their cellar. The cart the old man had made late at night sat on the table. The boy ate with one hand, his other hand resting on the cart. Occasionally, he paused in eating to move the cart back and forth a few inches, and to imitate the sound of a motor. "That's a nice truck you've got there, Mister" said the old man. "Bringing animals to the market, are you? "Brummmaaaa, brummmaaaa. Out of my way! Brummmaaaa. Out of the way of my tank." "Sorry," sighed the old man, "thought you were a truck. You like it anyway, and that's what counts.
Kurt Vonnegut Jr.
This is way better than the time Bael asked me to use my truck to help him move a gold statue of a hippo. A life-size statue, mind you, with ruby eyes the size of my fist. The thing was creepy. Dragons get very weird birthday presents.
Molly Harper (Love and Other Wild Things (Mystic Bayou, #2))
Now that his children are grown, Cliff misses that special time when they were young with proportionately large eyes filled with wonder (the eye supposedly is the only human body part that remains the same size from birth). Although he longs for grandchildren to gift his life someday, he has the great fortune of a customer base that is forever young and a monster truck that puts smiles on the faces of adults as well as children. What’s not to like about that?
Cliff Fictor (A Monster Truck for Johnny)
An unfamiliar kind of break survived at that table. The three of us, Marcel, Olivia, including myself hunkered down on the steep southerly end of the table. Now that is ‘superb’ and scarier (in Emmah's case, unquestionably.) The Natalie siblings had finished. We were gazing at them; they're so odd, Olivia and Marcel arranged not to seem quite so intimidating, and we did not sit here alone. My other compatriots, Lance, and Mikaela (who were in the uncomfortable post-breakup association phase,) Mollie and Sam (whose involvement had endured the summertime...) Tim, Kaylah, Skylar, and Sophie (though that last one didn't count in the friend category.) Completely assembled at the same table, on the other side of an interchangeable line. That line softened on sunshiny days when Marcel and Olivia continuously skipped school times before there was Karly, and then the discussion would swell out effortlessly to incorporate me. Marcel and Olivia didn't find this minor elimination fragmentary or dangerous the way I would hold. They scarcely noticed this at all. Characters always felt remarkably hostile at leisure with the Barn’s, around anxious for some purpose they couldn't justify to themselves. I implied a unique exemption to that precept. Seldom confused Marcel whence very satisfied I was withstanding adjacent to him. He deemed he was dangerous to my health-a feeling I rejected vehemently whenever he uttered that. The midday moved briskly. School completed, and Marcel walked me to my truck as he customarily prepared. Disregarding this time, he held the pilgrim entrance open for me. Olivia must have obtained it using his automobile home so that he could restrain me from making a charge for this. I wrapped my arms and performed no move to get out of the downpour. ‘It's my birthday, don't I get to drive?’ ‘I'm faking it's not your birthday, just as you yearned.’ ‘If it's not my birthday, then I don't have to proceed to your home later…
Marcel Ray Duriez (Nevaeh Hard to Let Go)
Marcel and Olivia didn't find this minor elimination fragmentary or dangerous the way I would hold. They scarcely noticed this at all. Characters always felt remarkably hostile at leisure with the Barn’s, around anxious for some purpose they couldn't justify to themselves. I implied a unique exemption to that precept. Seldom confused Marcel whence very satisfied I was withstanding adjacent to him. He deemed he was dangerous to my health-a feeling I rejected vehemently whenever he uttered that. The midday moved briskly. School completed, and Marcel walked me to my truck as he customarily prepared. Disregarding this time, he held the pilgrim entrance open for me. Olivia must have obtained it using his automobile home so that he could restrain me from making a charge for this. I wrapped my arms and performed no move to get out of the downpour. ‘It's my birthday, don't I get to drive?’ ‘I'm faking it's not your birthday, just as you yearned.’ ‘If it's not my birthday, then I don't have to proceed to your home later…’ ‘All right,’ He closed the passenger door and shuffled past me to open the driver's side. ‘Happy birthday.’ ‘Sh-h,’ I shushed him halfheartedly. I climbed through the opened door, begging he'd exercised the other suggestion. Marcel played with the radio while I drove, shaking his head in dissatisfaction. ‘Your radio has awful treatments.’ I scowled; I didn't like it when he picked on my truck. The truck was transcendent and it had nature. ‘You want a pleasant stereo? Drive your vehicle.’ I was so annoyed about Olivia's plans, on top of my already discouraged feeling, that the words came out sharper than I'd anticipated them. I was barely ever bad-tempered with Marcel, and my tone made him press his lips together to keep from smiling. When I parked in front of Mr. Anderson’s house, he stretched over to take my face in his hands. He handled me very thoroughly, touching just the tips of his fingers softly against my temples, my cheekbones, my jawline. Like I was exceptionally breakable.
Marcel Ray Duriez (Nevaeh Hard to Let Go)
Getting It Right" Your ankles make me want to party, want to sit and beg and roll over under a pair of riding boots with your ankles hidden inside, sweating beneath the black tooled leather; they make me wish it was my birthday so I could blow out their candles, have them hung over my shoulders like two bags full of money. Your ankles are two monster-truck engines but smaller and lighter and sexier than a saucer with warm milk licking the outside edge; they make me want to sing, make me want to take them home and feed them pasta, I want to punish them for being bad and then hold them all night long and say I’m sorry, sugar, darling, it will never happen again, not in a million years. Your thighs make me quiet. Make me want to be hurled into the air like a cannonball and pulled down again like someone being pulled into a van. Your thighs are two boats burned out of redwood trees. I want to go sailing. Your thighs, the long breath of them under the blue denim of your high-end jeans, could starve me to death, could make me cry and cry. Your ass is a shopping mall at Christmas, a holy place, a hill I fell in love with once when I was falling in love with hills. Your ass is a string quartet, the northern lights tucked tightly into bed between a high-count-of-cotton sheets. Your back is the back of a river full of fish; I have my tackle and tackle box. You only have to say the word. Your back, a letter I have been writing for fifteen years, a smooth stone, a moan someone makes when his hair is pulled, your back like a warm tongue at rest, a tongue with a tab of acid on top; your spine is an alphabet, a ladder of celestial proportions. I am navigating the North and South of it. Your armpits are beehives, they make me want to spin wool, want to pour a glass of whiskey, your armpits dripping their honey, their heat, their inexhaustible love-making dark. I am bright yellow for them. I am always thinking about them, resting at your side or high in the air when I’m pulling off your shirt. Your arms of blue and ice with the blood running to make them believe in God. Your shoulders make me want to raise an arm and burn down the Capitol. They sing to each other underneath your turquoise slope-neck blouse. Each is a separate bowl of rice steaming and covered in soy sauce. Your neck is a skyscraper of erotic adult videos, a swan and a ballet and a throaty elevator made of light. Your neck is a scrim of wet silk that guides the dead into the hours of Heaven. It makes me want to die, your mouth, which is the mouth of everything worth saying. It’s abalone and coral reef. Your mouth, which opens like the legs of astronauts who disconnect their safety lines and ride their stars into the billion and one voting districts of the Milky Way. Darling, you’re my President; I want to get this right! Matthew Dickman, The New Yorker: Poems | August 29, 2011 Issue
Matthew Dickman
Yogurt is good for you. And it’s just one spoon,” Sharpcot had replied, but this stack summoned a billion voices, all of them saying in a chorus, “Just one spoon.” From kids’ lunches and store shelves and desk drawers and airline meal packs, in every country of the world: Canada and the United States and Nicaragua and Uruguay and Argentina and Ireland and Burkina Faso and Russia and Papua New Guinea and New Zealand and very probably the Antarctic. Where wasn’t there disposable cutlery? Plastic spoons in endless demand, in endless supply, from factory floors where they are manufactured and packaged in boxes of 10 or 20 or 100 or 1000 or individually in clear wrap, boxed on skids and trucked to trains freighting them to port cities and onto giant container ships plying the seas to international ports to intercity transport trucks to retail delivery docks for grocery stores and retail chains, supplying restaurants and homes, consumers moving them from shelf to cart to bag to car to house, where they are stuck in the lunches of the children of polluting parents, or used once each at a birthday party to serve ice cream to four-year-olds where only some are used but who knows which? So used and unused go together in the trash, or every day one crammed into a hipster’s backpack to eat instant pudding at his software job in an open-concept walkup in a gentrified neighbourhood, or handed out from food trucks by the harbour, or set in a paper cup at a Costco table for customers to sample just one bite of this exotic new flavour, and so they go into trash bins and dumpsters and garbage trucks and finally vast landfill sites or maybe just tossed from the window of a moving car or thrown over the rail of a cruise ship to sink in the ocean deep.
B.H. Panhuyzen (A Tidy Armageddon)
TAKE ONE STORY, viewed from two different angles. Take a rainy Sunday morning in July, in the late 1920s, when Eddie and his friends are tossing a baseball Eddie got for his birthday nearly a year ago. Take a moment when that ball flies over Eddie’s head and out into the street. Eddie, wearing tawny pants and a wool cap, chases after it, and runs in front of an automobile, a Ford Model A. The car screeches, veers, and just misses him. He shivers, exhales, gets the ball, and races back to his friends. The game soon ends and the children run to the arcade to play the Erie Digger machine, with its claw-like mechanism that picks up small toys. Now take that same story from a different angle. A man is behind the wheel of a Ford Model A, which he has borrowed from a friend to practice his driving. The road is wet from the morning rain. Suddenly, a baseball bounces across the street, and a boy comes racing after it. The driver slams on the brakes and yanks the wheel. The car skids, the tires screech. The man somehow regains control, and the Model A rolls on. The child has disappeared in the rearview mirror, but the man’s body is still affected, thinking of how close he came to tragedy. The jolt of adrenaline has forced his heart to pump furiously and this heart is not a strong one and the pumping leaves him drained. The man feels dizzy and his head drops momentarily. His automobile nearly collides with another. The second driver honks, the man veers again, spinning the wheel, pushing on the brake pedal. He skids along an avenue then turns down an alley. His vehicle rolls until it collides with the rear of a parked truck. There is a small crashing noise. The headlights shatter. The impact smacks the man into the steering wheel. His forehead bleeds. He steps from the Model A, sees the damage, then collapses onto the wet pavement. His arm throbs. His chest hurts. It is Sunday morning. The alley is empty. He remains there, unnoticed, slumped against the side of the car. The blood from his coronary arteries no longer flows to his heart. An hour passes. A policeman finds him. A medical examiner pronounces him dead. The cause of death is listed as “heart attack.” There are no known relatives. Take one story, viewed from two different angles. It is the same day, the same moment, but one angle ends happily, at an arcade, with the little boy in tawny pants dropping pennies into the Erie Digger machine, and the other ends badly, in a city morgue, where one worker calls another worker over to marvel at the blue skin of the newest arrival.
Mitch Albom (The Five People You Meet in Heaven (The Five People You Meet in Heaven, #1))