Volvo Quotes

We've searched our database for all the quotes and captions related to Volvo. Here they are! All 100 of them:

Stupid, shiny Volvo owner.
Stephenie Meyer (Twilight (The Twilight Saga, #1))
We’re so self-important. Everybody’s going to save something now. “Save the trees, save the bees, save the whales, save those snails.” And the greatest arrogance of all: save the planet. Save the planet, we don’t even know how to take care of ourselves yet. I’m tired of this shit. I’m tired of f-ing Earth Day. I’m tired of these self-righteous environmentalists, these white, bourgeois liberals who think the only thing wrong with this country is that there aren’t enough bicycle paths. People trying to make the world safe for Volvos. Besides, environmentalists don’t give a shit about the planet. Not in the abstract they don’t. You know what they’re interested in? A clean place to live. Their own habitat. They’re worried that some day in the future they might be personally inconvenienced. Narrow, unenlightened self-interest doesn’t impress me. The planet has been through a lot worse than us. Been through earthquakes, volcanoes, plate tectonics, continental drift, solar flares, sun spots, magnetic storms, the magnetic reversal of the poles … hundreds of thousands of years of bombardment by comets and asteroids and meteors, worldwide floods, tidal waves, worldwide fires, erosion, cosmic rays, recurring ice ages … And we think some plastic bags and some aluminum cans are going to make a difference? The planet isn’t going anywhere. WE are! We’re going away. Pack your shit, folks. We’re going away. And we won’t leave much of a trace, either. Maybe a little Styrofoam … The planet’ll be here and we’ll be long gone. Just another failed mutation. Just another closed-end biological mistake. An evolutionary cul-de-sac. The planet’ll shake us off like a bad case of fleas. The planet will be here for a long, long, LONG time after we’re gone, and it will heal itself, it will cleanse itself, ’cause that’s what it does. It’s a self-correcting system. The air and the water will recover, the earth will be renewed. And if it’s true that plastic is not degradable, well, the planet will simply incorporate plastic into a new paradigm: the earth plus plastic. The earth doesn’t share our prejudice toward plastic. Plastic came out of the earth. The earth probably sees plastic as just another one of its children. Could be the only reason the earth allowed us to be spawned from it in the first place. It wanted plastic for itself. Didn’t know how to make it. Needed us. Could be the answer to our age-old egocentric philosophical question, “Why are we here?” Plastic… asshole.
George Carlin
Tampaknya hanya buku yang paling pantas diceritakan dengan bangga oleh manusia beradab, bukan BMW, Mercedes, ataupun Volvo. Apabila ada manusia di zaman sekarang yang menyebut dirinya modern tetapi tidak mengindahkan buku, memilikinya, dan membacanya, maka dengan demikian manusia tersebut telah mengambil inisiatif menjadikan dirinya sebagai hewan.
Remy Sylado
If you watched a movie about a guy who wanted a Volvo and worked for years to get it, you wouldn’t cry at the end when he drove off the lot, testing the windshield wipers. You wouldn’t tell your friends you saw a beautiful movie or go home and put a record on to think about the story you’d seen. The truth is, you wouldn't remember that movie a week later, except you’d feel robbed and want your money back. Nobody cries at the end of a movie about a guy who wants a Volvo. But we spend years actually living those stories, and expect our lives to be meaningful. The truth is, if what we choose to do with our lives won't make a story meaningful, it won’t make a life meaningful either
Donald Miller (A Million Miles in a Thousand Years: What I Learned While Editing My Life)
I don't see how that is any of your business." Stupid, shiny Volvo owner.
Stephenie Meyer
Gamache enjoyed going to churches for their music and the beauty of the language and the stillness. But he felt closer to God in his Volvo.
Louise Penny (Still Life (Chief Inspector Armand Gamache #1))
When we did eventually get to the party - me walking next to Dad's Volvo driving at five miles an hour - I had a horrible time. Everyone laughed at first but then more or less ignored me. In a mood of defiant stuffed oliveness I did have a dance by myself but things kept crashing to the floor around me. The host asked if I would sit down. I had a go at that but it was useless. In the end I was at the gate for about an hour before Dad arrived.
Louise Rennison (Angus, Thongs and Full-Frontal Snogging (Confessions of Georgia Nicolson, #1))
that time Rune drove a Volvo, but later he bought a BMW. You just couldn’t reason with a person who behaved like that.
Fredrik Backman (A Man Called Ove)
I knew the men were probably terrible people who whistled at pretty girls, treated their wives like servants, and voted for Nixon every chance they got, but as far as I was concerned, they beat the hell out of a Volvo-load of liberals for hard work and good times.
James Crumley (The Last Good Kiss (C.W. Sughrue, #1))
I looked around me to make sure it was clear. That's when I noticed the still, white figure. Edward Cullen was leaning against the front door of the Volvo, three cars down from me, and staring intently in my direction. I swiftly looked away and threw the truck into reverse, almost hitting a rusty Toyota Corolla in my haste. Lucky for the Toyota, I stomped on the brake in time. It was just the sort of car that my truck would make scrap metal of. I took a deep breath, still looking out the other side of my car, and cautiously pulled out again, with greater success. I stared straight ahead as I passed the Volvo, but from a peripheral peek, I would swear I saw him laughing.
Stephenie Meyer (Twilight (The Twilight Saga, #1))
Dogs are wonderful, and in many ways unique. But they are remarkably unremarkable in their intellectual and experiential capacities. Pigs are every bit as intelligent and feeling, by any sensible definition of the words. They can't hop into the back of a Volvo, but they can fetch, run and play, be mischievous, and reciprocate affection. So why don't they get to curl up by the fire? Why can't they at least be spared being tossed on the fire?
Jonathan Safran Foer (Eating Animals)
It’s a cliché. I swear to God, every surviving Volvo produced between 1970 and 1985 is being driven by quirky fictional girls.
Rainbow Rowell (Fangirl)
Let go!” I insisted. He ignored me. I staggered along sideways across the wet sidewalk until we reached the Volvo. Then he finally freed me – I stumbled against the passenger door. “You are so pushy!” I grumbled “It’s open,” was all he responded. He got in the driver’s side. “I am perfectly capable of driving myself home!” I stood by the car, fuming. It was raining harder now, and I’d never put my hood up, so my hair was dripping down my back. He lowered the automatic window and leaned toward me across the seat. “Get in, Bella.” I didn’t answer. I was mentally calculating my chances of reaching the truck before he could catch me. I had to admit it, they weren’t good. “I’ll just drag you back,” he threatened, guessing my plan.
Stephenie Meyer (Twilight (The Twilight Saga, #1))
You have to distinguish between two things - the Swedish economy and the Swedish stock market. The Swedish economy is the sum of all the goods and services that are produced in this country every day. There are telephones from Ericsson, cars from Volvo, chickens from Scan, and shipments from Kiruna to Skovde. That's the Swedish economy, and it's just as strong or weak today as it was a week ago... The Stock Exchange is something very different. There is no economy and no production of goods and services. There are only fantasies in which people from one hour to the next decide that this or that company is worth so many billions, more or less. It doesn't have a thing to do with the Swedish economy.
Stieg Larsson (The Girl With the Dragon Tattoo (Millennium, #1))
Ronan,” said Declan. The word was loaded with additional meaning: I see you’ve only just come out of school and already your uniform looks like hell; nothing is shocking here. He gestured to the Volvo. “Join me in my office.” Ronan did not want to join him in his office. Ronan wanted to stop feeling like he had drunk battery acid. “What do you need with Ronan?” Gansey asked. His “Ronan” was loaded with additional meaning, too: Was this prearranged and tell me what is happening and do you need me to intervene? “Just a little family chat,” Declan said. Ronan looked at Gansey entreatingly. “Is it a family chat that could happen on the way to Fox Way?” Gansey asked, all polite power. “Because he and I were just headed over there.” Ordinarily, Declan would have stepped off at the slightest pressure from Gansey, but he said, “Oh, I can drop him off there after we’re done. Just a few minutes.” “Ronan!” Matthew reached his hand out the window towards Ronan. His ebullient “Ronan” was another version of please. Trapped. “Miseria fortes viros, Ronan,” Adam said. When he said “Ronan,” it meant: Ronan.
Maggie Stiefvater (The Raven King (The Raven Cycle, #4))
Let’s drive our Volvo into a brick wall to make Rosie Perez feel better.
Donora Hillard
I stared straight ahead as I passed the Volvo, but from a peripheral peek, I would swear I saw him laughing.
Stephenie Meyer (Twilight (Twilight, #1))
Volvos are fundamentally invisible.
John Sandford (Outrage (The Singular Menace, #2))
In the earliest years, when you could still drive a Volvo 240 without feeling self-conscious, the collective task in Ramsey Hill was to relearn certain life skills that your own parents had fled to the suburbs specifically to unlearn, like how to interest the local cops in actually doing their job, and how to protect a bike from a highly motivated thief, and when to bother rousting a drunk from your lawn furniture, and how to encourage feral cats to shit in somebody else’s children’s sandbox, and how to determine whether a public school sucked too much to bother trying to fix it.
Jonathan Franzen (Freedom)
But Max's Volvo is double-parked in front of my house when Jerry and I return, and Max is waiting on the stoop, holding four coffees. "I didn't know what kind you like. So I just got like...all of them.
Lucy Keating (Dreamology)
I swear to God, every surviving Volvo produced between 1970 and 1985 is being driven by quirky fictional girls.
Rainbow Rowell (Fangirl)
stupid shinny Volvo owner" - Bella - Twilight
Stephanie Mayer
Estúpido propietario de un flamante Volvo.
Stephenie Meyer (Twilight (The Twilight Saga, #1))
If that logic made any sense - which it doesn't, by the way - you, with your Volvo, would have been way more into Swedish House Maffia.
Morgan Matson (Since You've Been Gone)
Vermont is Volvos and antique shops and country inns with cutely contrived names like Quail Hollow Lodge and Fiddlehead Farm Inn. New Hampshire is guys in hunting caps and pickup trucks with license plates bearing the feisty slogan “Live Free or Die.
Bill Bryson (A Walk in the Woods: Rediscovering America on the Appalachian Trail)
Hipster (n.): Yes, you ride a fixed-gear bike and drink single-origin chai from a local specially abled artist’s hand-thrown ceramic mug. Your bi-friend only listens to cassettes, and you just love vintage flats, and your rescue dog is named Cobain. Please just wear your hat and glasses and turned-up pants and defy categorizing. Remember: you will one day be driving a Volvo with toys thrown willy-nilly and Burger King wrappers on the floor, listening to Sade and digging it unironically. Even the freshest kale can go brown and wilt. Cave futurum.
Greg Proops (The Smartest Book in the World: A Lexicon of Literacy, A Rancorous Reportage, A Concise Curriculum of Cool)
You have to distinguish between two things – the Swedish economy and the Swedish stock market. The Swedish economy is the sum of all the goods and services that are produced in this country every day. There are telephones from Ericsson, cars from Volvo, chickens from Scan, and shipments from Kiruna to Skövde. That’s the Swedish economy, and it’s just as strong or weak today as it was a week ago.” He paused for effect and took a sip of water. “The Stock Exchange is something very different. There is no economy and no production of goods and services. There are only fantasies in which people from one hour to the next decide that this or that company is worth so many billions, more or less. It doesn’t have a thing to do with reality or with the Swedish economy.
Stieg Larsson (The Girl with the Dragon Tattoo (Millennium, #1))
Some time later, after Noah had discreetly disappeared, Declan’s Volvo glided up, as quiet as the Pig was loud. Ronan said, “Move up, move up” to Blue until she scooted the passenger seat far enough for him to clamber behind it into the backseat. He hurriedly sprawled back in the seat, throwing one jean-covered leg over the top of Adam’s and laying his head in a posture of thoughtless abandon. By the time Declan arrived at the driver’s side window, Ronan looked as if he had been asleep for days. “Lucky I was able to get away,” Declan said. He peered into the car, eyes passing over Blue and snagging on Ronan in the backseat. His gaze followed his brother’s leg to where it rested on top of Adam’s, and his expression tightened. “Thanks, D,” Gansey said easily. With no effort, he pushed open the door, forcing Declan back without seeming to. He moved the conversation to the region of the front fender. It became a battle of genial smiles and deliberate hand gestures.
Maggie Stiefvater (The Dream Thieves (The Raven Cycle, #2))
In retrospect, Anita will tell the other neighbors that she had not seen Ove so angry since 1977, when there was talk of a merger between Saab and Volvo.
Fredrik Backman (A Man Called Otto)
At that time Rune drove a Volvo, but later he bought a BMW. You just couldn’t reason with a person who behaved like that.
Fredrik Backman (A Man Called Ove)
These days, as we all know, Volvos are cool.
James May (May on Motors: On the Road with James May)
I looked at her in disbelief. “If I see a damn mouse come out of your dashboard, I am hurling myself out of the Volvo.
Noelle W. Ihli (Run on Red)
If I had a vulva, I’d let you drive it like a Volvo. It’s all about safety. You could probably park on the street, but you might get a ticket.
Jarod Kintz (This Book is Not for Sale)
A jumping spider the size of my little fingernail can jump upon and kill a large grasshopper, which is roughly equivalent to my leaping upon and devouring a Volvo station wagon.
Katherine Rundell (Vanishing Treasures: A Bestiary of Extraordinary Endangered Creatures)
Stay strong," said the detective. "They respect strength." What the hell was she supposed to do? Break a chair? Bench-press a Volvo?
Kathy Lyons (The Bear Who Loved Me (Grizzlies Gone Wild, #1))
Now that we know that Spring Roll is a girl, we should probably think about setting up her room. Gabriel kept his eyes on the road as he drove the Volvo one Saturday morning in May. We should also talk about names. That sounds good. Maybe you should think about what you want and we can go shopping. Julia turned to look at him. Now? I said I'd take you to lunch, and we can do that. But afterward, we need to start thinking about Spring Roll's room. We want it to be attractive, but functional. Something comfortable for you and for her, but not juvenile. She's a baby, Gabriel. Her stuff is going to be juvenile. You know what I mean. I want it to be elegant and not look like a preschool. Good grief. Julia fought a grin as she began imagining what the Professor would design. (Argyle patterns, dark wood, and chocolate brown leather immediately came to mind.) He cleared his throat. I might have done some searching on the Internet. Oh, really? From where? Restoration Hardware? Of course not. He bristled. Their things wouldn't be appropriate for a baby's room. So where then? He gazed at her triumphantly. Pottery Barn Kids. Julia groaned. We've become yuppies. Gabriel stared at her in mock horror. Why do you say that? We're driving a Volvo and talking about shopping at Pottery Barn. First of all, Volvos have an excellent safety rating and they're more attractive than a minivan. Secondly, Pottery Barn's furniture happens to be both functional and aesthetically pleasing. I'd like to take you to one their stores so you can see for yourself. As long as we get Thai food first. Now it was Gabriel's turn to roll his eyes. Fine. But we're ordering takeout and taking it to the park for a picnic. And I'm having Indian food, instead. If I see another plate of pad Thai, I'm going to lose it. Julia burst into peals of laughter.
Sylvain Reynard (Gabriel's Redemption (Gabriel's Inferno, #3))
And there were likely people who thought one could not interpret men's feelings by the cars they drove. But when they moved onto the street, Ove drove a Saab 96 and Rune a Volvo 244. After the accident Ove bought a Saab 95 so he'd have space for Sonja's wheelchair. That same year Rune bought a Volvo 245 to have space for a stroller. Three years later Sonja got a more modern wheelchair and Ove bought a hatchback, a Saab 900. Rune bought a Volvo 265 because Anita had started talking about another child. Then Ove bought two more Saab 900s and after that his Saab 9000. Rune bought a Volvo 265 and eventually a Volvo 745 station wagon. But no more children came. One evening Sonja came home and told Ove that Anita had been to the doctor. And a week later a Volvo 740 stood parked in Rune's garage. The sedan model. Ove saw it when he washed his Saab. In the evening Rune found a half bottle of whiskey outside his door. They never spoke about it.
Fredrik Backman (A Man Called Ove)
In the mid-1980s, on a spring Sunday morning, a Volvo stationwagon parked in Brunswick Street. A young couple got out. She was trim, blonded, tanned. He was already broadening in the midsection, sockless, short and hairy legs ending in boatshoes. From a restraining chair in the back seat, he unloaded a child, complaining, flailing. They took it into a cafe. They were going to have brunch. The old Brunswick Street was dead, Brunchwick Street born. There was no turning back.
Peter Temple (White Dog (Jack Irish, #4))
Never before have the American people had their noses so deeply in one another's business. If I announce that I and eleven other diners shared a thirty-seven-course lunch that likely cost as much as a new Volvo station wagon, Those of a critical nature will let their minds run in tiny, aghast circles of condemnation. My response to them is that none of us twelve disciples of gourmandise wanted a new Volvo. We wanted only lunch and since lunch lasted approximately eleven hours we saved money by not having to buy diner. The defense rests.
Jim Harrison
Längtan efter vad? Vet inte. Vet bara allt som jag inte vill. Inte det normala. Inte mamma-pappa-barn-villa-vovve (ta det inte personligt Sniff)-Volvo-tv-studielån-lån-bingolotto-9-5-jobb-meningslöshet-tick-tack-livet-går-vad vill universum -med-mig-vad-vill-jag-med-mig?
Johanna Nilsson (Konsten att vara Ela)
I leave the number and a short message on every green Volvo in town Is anything wrong? I miss you. 574-7423 The phone rings constantly. One says, Are you bald? Another, How tall are you in your stocking feet? Most just reply, Nothing's wrong. I miss you, too. Come quick.
Ronald Koertge
Growing up, my mom made dinner every night. Usually this would be a large salad with kale, carrots, tomatoes, cucumbers, all organic of course, and sometimes she’d sprinkle nuts on top for texture. Kale has a metallic taste, like chewing on the hood of a Mercedes. No, something safer, like a Volvo.
Jarod Kintz (Gosh, I probably shouldn't publish this.)
Sitting in the shadows next to the Volvo was Mr. FBI’s pickup. Inside of the cab, his lit cigarette burned red then faded to a pale orange. She paused next to his open window, slipping on the jean jacket she’d borrowed from Claire. Old Hank Williams Sr.’s singing Your Cheatin’ Heart came from his speakers.
Ann Charles (The Rowdy Coyote Rumble (Jackrabbit Junction #4))
Pigs are every bit as intelligent and feeling, by any sensible definition of the words. They can't hop into the back of a volvo, but they can fetch, run and play, be mischievous, and reciprocate affection. So why don't they get to curl up by the fire? Why can't they at least be spared being tossed on the fire?
Jonathan Safran Foer (Eating Animals)
I turned the steering wheel as far as I could. The old blue Volvo didn't believe in power steering. "More," my father said. I thought I was going to die. I thought I might have a heart attack. I thought if I ever had to drive that car, I'd end up looking like Arnold Schwarzenegger. "I think I'm having a heart attack," I said. "What?" "Never mind.
A.M. Homes
we don’t sit enough with our grief and let our bodies process it.
Sandra Tsing Loh (The Madwoman in the Volvo: My Year of Raging Hormones)
When I realized that by “no one” this man was referring to approximately 750,000 children, I knew that I had found my passion and my cause.
Sandra Tsing Loh (The Madwoman in the Volvo: My Year of Raging Hormones)
Osim toga, svet je mali. Ponekad se stvari sklope na najslađi način. Drugi put se sklope na manje slatke načine, ili se ne sklope uopšte.
Erlend Loe (Volvo Lastvagnar (Doppler, #2))
I don’t care if your first name’s “Carnegie” and your last name’s “Mellon,” you’d probably be waitlisted now.
Annabel Monaghan (Does This Volvo Make My Butt Look Big?: Thoughts for moms and other tired people)
All at once I was standing at our front window one day, looking down at the driveway, and Natalie was buckling the baby into the car. This was a Volvo wagon her parents had given us when Opal was born. And I watched her shut the passenger door and walk around to the driver’s side, and I said to myself, ‘Why, great God in heaven! I seem to have married one of those station wagon mommies!’ So we got divorced.
Anne Tyler (A Patchwork Planet)
In the house on the other side of Jimmy live Rune and his wife. Ove wouldn’t exactly call Rune his “enemy” . . . or rather, he would. Everything that went to pot in the Residents’ Association began with Rune. He and his wife, Anita, moved into the area on the same day that Ove and Sonja moved in. At that time Rune drove a Volvo, but later he bought a BMW. You just couldn’t reason with a person who behaved like that
Fredrik Backman (A Man Called Ove)
If I followed my better instincts right now, I would put this typewriter in the Volvo and drive to the home of the nearest politician -- any politician -- and hurl the goddamn machine through his front window ... flush the bugger out with an act of lunatic violence then soak him down with mace and run him naked down Main Street in Aspen with a bell around his neck and black lumps all over his body from the jolts of a high powered "Ball Buster" cattle prod.
Hunter S. Thompson
Sweetheart, you got to understand something. Mad Dog Twenty-Twenty, that’s my favorite wine. And Mad Dog and opera, they don’t go together. Opera make you want to drink some white wine in a Volvo. Some Chardonnay or something like that. But listen to this.” He turned up the eight-track and James Brown hollered. “Now, James make you want to drink some Mad Dog in a Cadillac, don’t he? This is an Eldorado, to be more specific, but James don’t sing Chardonnay music, and this ain’t no Chardonnay car.
Honorée Fanonne Jeffers (The Love Songs of W.E.B. Du Bois)
Ronan!” Gansey shouted, too late. Declan went down, but before Gansey even had time to form a plan of action, he was back up again, fist smacking into his brother. Ronan released a string of profanity so varied and pointed that Gansey was amazed that the words alone didn’t slay Declan. Arms windmilled. Knees met chests. Elbows rammed into faces. Then Ronan grabbed Declan’s suit coat and used it to throw him onto the mirrorlike hood of Declan’s Volvo. “Not the fucking car!” snarled Declan, his lip bloody.
Maggie Stiefvater (The Raven Boys (The Raven Cycle #1))
Edward was walking past the front of my truck, looking straight forward, his lips pressed together. I yanked the door open and jumped inside, slamming it loudly behind me. I revved the engine deafeningly and reversed out into the aisle. Edward was in his car already, two spaces down, sliding out smoothly in front of me, cutting me off. He stopped there—to wait for his family; I could see the four of them walking this way, but still by the cafeteria. I considered taking out the rear of his shiny Volvo, but there were too many witnesses.
Stephenie Meyer (Twilight (Twilight, #1))
Cea mai minunată femeie din lume este cea care te iubeşte cu adevărat şi pe care-o iubeşti cu adevărat. Nimic altceva nu contează. Odată, pe vremea liceului, umblam pe bulevard cu un prieten, doi puşti zăluzi şi frustraţi care dădeau note «gagicilor» şi vorbeau cu atât mai scabros cu cât erau, de fapt, mai inocenţi erotic. Ce fund are una, ce balcoane are alta... Femeile nu erau nimic altceva pentru noi decât nişte obiecte de lux, ca automobilele lustruite din vitrinele magazinelor «Volvo» sau «Maserati»: nu ne imaginam cu adevărat că vom avea şi noi una vreodată. Prin dreptul cinematografului Patria am zărit o tipă trăznitoare. Am rămas înlemniţi: ce pulpe în ciorapi de plasă neagră, ce fund rotund şi ce mijloc subţire, ce ţoale pe ea, ce plete de sârmă roşie, răsucită în mii de feluri... Ne-am învârtit în jurul ei ca s-o vedem şi din faţă: cum putea avea aşa pereche de ţâţe, aşa de perfecte cum numai în albumele de artă — care pe-atunci ne ţineau loc de Penthouse—mai văzuserăm? Pentru cine era o astfel de fiinţă, cum putea fi o noapte de sex cu ea? Până la urmă ne-am aşezat la coadă la bilete, fără s-o scăpăm din ochi şi fără să-ncetăm comentariile. Când, îl auzim pe unul, un tip destul de jegos care stătea şi el la coadă, mâncând seminţe, înaintea noastră: «E bună paraşuta asta, nu? V-ar place şi vouă, ciutanilor... Da' ascultaţi-mă pe mine, c-am fumat destule ca ea: cât o vedeţi de futeşă, să ştiţi că e pe undeva un bărbat sătul de ea până peste cap! Poa'să fie cea mai mişto din lume, poa'să fie şi Brijibardo, că tot i-e drag vreunuia de ea ca mie de nevastă-mea...» Am fost mult mai şocat de remarcile astea decât mi-aş fi imaginat. Cum să te plictiseşti de frumuseţea însăşi, de neatins şi de neconceput? De cea pentru care ţi-ai da şi pielea de pe tine? Ce ar putea dori un bărbat mai mult decât să-şi poată trece braţul în jurul mijlocului ei, să poată privi minute-n şir în ochii ei, să o întindă încetişor pe pat... Să o scoată din învelişul ei de dantelă mătăsoasă... De-aici încolo imaginaţia mea se bloca, nu-mi puteam închipui cum e să faci dragoste. De câte ori mă gândeam cum ar fi, vedeam doar un ocean roz care se răsuceşte asupra ta şi te sufocă... Am cunoscut apoi femei reale, femei imaginare, femei din vis, femei din cărţi, femei din reclame, femei din filme, femei din videoclipuri. Femei din revistele porno. Fiecare altfel şi fiecare cu altceva de oferit. M-am îndrăgostit de câteva şi de fiecare dată a fost la fel: primul semn că aş putea-o iubi a fost mereu că nu m-am putut gândi, văzând-o, «cât de futeşă e». Chiar dacă era. Bărbaţii au creierul impregnat de hormoni. Nici cel mai distins intelectual nu e altfel, până şi el, la orice vârstă, îşi imaginează cum ar face-o cu fata plictisită, necunoscută, de lângă el. Dar când cunoşti cea mai minunată femeie din lume, care e cea pe care o poţi iubi, semnul este, trebuie să fie, că nici pulpele, nici «balcoanele» nu se mai văd, de parcă hormonii sexului şi-ai agresivităţii s-ar retrage din creierul tău tumefiat şi l-ar lăsa inocent ca un creier de copil şi translucid ca o corniţă de melc. Facem sex cu un creier de bărbat, dar iubim cu unul de copil, încrezător, dependent, dornic de a da şi a primi afecţiune. Femeile minunate din viaţa mea, toate cele pe care le-am iubit cu adevărat şi care-au răspuns cu dragoste dragostei mele, au fost într-un fel necorporale, au fost bucurie pură, nevroză pură, experienţă pură. Senzualitatea, uneori dusă până foarte departe, nu a fost decât un ingredient într-o aventură complexă şi epuizantă a minţii. Pentru mine nu există, deci, «cea mai minunată» în sensul de 90-60-90, nici în cel de blondă, brună sau roşcată, înaltă sau minionă, vânzătoare sau poetă. Cea mai minunată este cea cu care am putut avea un copil virtual numit «cuplul nostru», «dragostea noastră».
Mircea Cărtărescu (De ce iubim femeile)
* ad fakt, že Doppler běží jako blázen Bystrý čtenář možná podotkne, že si Doppler před celkem nedávnou dobou vymkl kotník, von Borring ho musel při vstupu do domu podpírat atd., tak jak najednou může běžet jako blázen? Bohužel nemám (já, autor tohoto textu) na tuto otázku vhodnou odpověď. Popravdě řečeno jsem na to nejspíš zapomněl, ale když jsem si kvůli tomu text nyní znovu pročetl, uvědomil jsem si, že bych zde mohl být nařčen z nekonsekventnosti a z toho, že okamžitě zapomínám na své nápady, jakmile se objeví nové. O takové kritice budu přemýšlet.
Erlend Loe (Volvo Lastvagnar (Doppler, #2))
A vážně hrozné je, že celkem zakrátko přijde Maj Britt na obláček k von Borringově matce na permanentní návštěvu, protože Maj Brittiny dny se už krátí, a přestože její vztah k Bohu je poněkud vlažný, bohatě stačí na to, aby byla Maj Britt vpuštěna do nebe, pochyby jí budou přičteny k dobru a bude umístěna na stejný obláček jako ostatní lidé z její obce, protože tak to v nebi chodí, respektují se tam hranice obcí, a jestliže von Borringově matce už teď připadá vyčerpávající tam sedět, dokážete si sami představit, v jaké peklo se jí pobyt promění po Maj Brittině příchodu. A ostatně: v rozporu s tím, v co, jak se zdá, věří mnoho křesťanů, to není tak, že by si s sebou člověk do nebe nesměl nic vzít. Jednu věci si totiž každý vzít může. Proto je třeba volit obezřetně. Von Borringova matka si vybrala truhlu s morfiem a Maj Britt si zvolí kamion marihuany. Diskuse mezi nimi budou duchaplné i iritující a budou probíhat opravdu dlouho předlouho.)
Erlend Loe (Volvo Lastvagnar (Doppler, #2))
Dogs are wonderful, and in many ways unique. But they are remarkably unremarkable in their intellectual and experiential capacities. Pigs are every bit as intelligent and feeling, by any sensible definition of the words. They can't hop into the back of a Volvo, but they can fetch, run and play, be mischievous, and reciprocate affection. So why don't they get to curl up by the fire? Why can't they at least be spared being tossed on the fire? Our taboo against dog eating says something about dogs and a great deal about us. The French, who love their dogs, sometimes eat their horses. The Spanish, who love their horses, sometimes eat their cows. The Indians, who love their cows, sometimes eat their dogs. While written in a much different context, George Orwell's words (from Animal Farm) apply here: "All animals are equal, but some animals are more equal than others." The protective emphasis is not a law of nature; it comes from the stories we tell about nature.
Jonathan Safran Foer (Eating Animals)
To the degree that advertising reaches us, occupying our time and thought, it keeps us vibrating within strict limits. If forty million people see a commercial for a car, then forty million people have a car commercial in their heads, all at the same time. This is bound to have more beneficial effect on the commodity system than if, at that moment, all those people were thinking separate thoughts which, in some cases, might not be about commodities at all. Of course, advertising people will argue against the notion that the purpose and result of their activities is to unify and homogenize people and culture. They are forever speaking of the dazzling array of choices our market system provides and how advertising provides the information we need to make choices. It is an ominous sign that so many people can accept this argument, which confuses diversity of product choice with diversity of life-style or thoughts. It ought to be self-evident that if I choose a Ford and you choose a Volvo, we are not expressing diversity, we are expressing unity. Moreover, if you and I at any one moment are both occupied with mental images and feelings related to products—any products— rather than some experience which is not connected to purchasing, then in terms of the commodity system, the gross national product, and the world of advertising, we are indistinguishable; we have merged as “market.” While it might matter to Upjohn or Cutter Laboratories which drug a consumer buys, both are in agreement that they benefit whenever people seek any drug rather than a nondrug solution to a problem. Advertising, then, serves to further the movement of humans into artificial environments by narrowing the conception of diversity to fit the framework of commodities while unifying people within this conception. The result is a singularly channeled mentality, nicely open to receiving commercial messages, ready to confuse brand diversity with diversity itself, and to confuse human need with the advertiser’s need to sell commodities.
Jerry Mander (Four Arguments for the Elimination of Television)
We need to be humble enough to recognize that unforeseen things can and do happen that are nobody’s fault. A good example of this occurred during the making of Toy Story 2. Earlier, when I described the evolution of that movie, I explained that our decision to overhaul the film so late in the game led to a meltdown of our workforce. This meltdown was the big unexpected event, and our response to it became part of our mythology. But about ten months before the reboot was ordered, in the winter of 1998, we’d been hit with a series of three smaller, random events—the first of which would threaten the future of Pixar. To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren Jacobs, one of the lead technical directors on the movie, remembers watching this occur in real time. At first, he couldn’t believe what he was seeing. Then, he was frantically dialing the phone to reach systems. “Pull out the plug on the Toy Story 2 master machine!” he screamed. When the guy on the other end asked, sensibly, why, Oren screamed louder: “Please, God, just pull it out as fast as you can!” The systems guy moved quickly, but still, two years of work—90 percent of the film—had been erased in a matter of seconds. An hour later, Oren and his boss, Galyn Susman, were in my office, trying to figure out what we would do next. “Don’t worry,” we all reassured each other. “We’ll restore the data from the backup system tonight. We’ll only lose half a day of work.” But then came random event number two: The backup system, we discovered, hadn’t been working correctly. The mechanism we had in place specifically to help us recover from data failures had itself failed. Toy Story 2 was gone and, at this point, the urge to panic was quite real. To reassemble the film would have taken thirty people a solid year. I remember the meeting when, as this devastating reality began to sink in, the company’s leaders gathered in a conference room to discuss our options—of which there seemed to be none. Then, about an hour into our discussion, Galyn Susman, the movie’s supervising technical director, remembered something: “Wait,” she said. “I might have a backup on my home computer.” About six months before, Galyn had had her second baby, which required that she spend more of her time working from home. To make that process more convenient, she’d set up a system that copied the entire film database to her home computer, automatically, once a week. This—our third random event—would be our salvation. Within a minute of her epiphany, Galyn and Oren were in her Volvo, speeding to her home in San Anselmo. They got her computer, wrapped it in blankets, and placed it carefully in the backseat. Then they drove in the slow lane all the way back to the office, where the machine was, as Oren describes it, “carried into Pixar like an Egyptian pharaoh.” Thanks to Galyn’s files, Woody was back—along with the rest of the movie.
Ed Catmull (Creativity, Inc.: Overcoming the Unseen Forces That Stand in the Way of True Inspiration)
They may have been the same rank, but he was still technically her senior — in both age and experience — and sometimes he liked to flex. Make himself look like he gave a damn. She leaned forward, hit the keyboard shortcut to minimise the windows, and got up. ‘Nothing,’ she said, pulling her jacket on. ‘That’s helpful.’ She ignored the comment, downed half her now-tepid coffee and bit lightly into her bagel, holding it between straight white teeth as she powered off her monitor and tucked her chair in.  ‘I don’t know why you bother,’ Roper said, flicking a hand at the now-black screen. ‘Not while all this is burning.’ He gestured around the room at the other desks and detectives working away. Dozens of screens were lit, the photocopier was buzzing, the lights were humming, and phones and devices were charging on every surface.  She shrugged. ‘If you leave a monitor on standby overnight it wastes enough energy to—’ ‘Yeah, yeah,’ he said, dismissing her with his hand. ‘And the polar ice caps are melting and penguins are getting sunburn. Come on, we’ve got a murder to solve.’ He walked forward, draining what was left in his coffee cup, and put it down on a random desk — much to the disgust of the guy sitting behind it. Roper swaggered towards the lifts, finally shrugging off the hangover, his caffeine quota for the next hour filled. Once his nicotine level had been topped off, he might actually be capable of some decent police work. Jamie fell in behind him, trying to get her mind off the other missing kids and back on Grace Melver. Whatever the hell was going on, Jamie had a feeling that Grace Melver knew something about it. Whether she realised or not.  Chapter 7 She walked with Roper without thinking about it.  Jamie had dropped him back at the crime scene after the shelter so he could pick his car up. The medical examiner was there and the scene of the crime officers, or SOCOs, were crawling all over in their plastic-covered boots, snapping photos and putting things in evidence bags.  They hadn’t stuck around.  It was best to leave the SOCOs do their jobs, and anyway Jamie and Roper had paperwork that needed to be done.  Her fingers typed on autopilot now. She’d had her prelim licked before she’d finished her first cup of coffee. Roper headed for his Volvo without asking and got into the driver’s seat.  Jamie pulled the door open and got in, closing the door only when he’d cranked the ignition so she could crack the window. The seats were covered
Morgan Greene (Bare Skin (DS Jamie Johansson, #1))
with dust and ash, a fast-food coffee cup was sitting in the centre console with eight cigarette buts dropped in it, and the passenger footwell was littered with burger wrappers and cigarette packets.  She could comment, but it wouldn’t make a difference.  He wheeled backwards into the middle of the underground car park and accelerated up the ramp. The scanner clocked his number plate and the barrier lifted. The engine whined and the Volvo thrust itself into the mild midday sun, the sounds of the city engulfing them.  They didn’t speak on the way over — both too engrossed in their own thoughts. Roper was no doubt planning his line of questioning for Grace. Jamie was thinking about Ollie. About how an eighteen-year-old kid goes from sixth-form to heroin in one fell swoop.  She still hadn’t spoken to his parents. Or to the doctor. She really needed to.
Morgan Greene (Bare Skin (DS Jamie Johansson, #1))
In The Music Man, swindling salesman Harold Hill tells stiff librarian Marian Paroo, “If you pile up enough tomorrows, you’ll find you’ve collected nothing but a lot of empty yesterdays.” I don’t want empty yesterdays. I want moments when I’ve been vulnerable or stupid or strong. I want to have tried that dish on the menu that walked a fine line between interesting and disgusting. I want to have seen that community production of a play clearly produced because the rights were dirt cheap. I want to have some daring adventures. I also remain a hopeless romantic. My dashing prince hasn’t arrived on my doorstep either in a white horsedrawn carriage or Volvo, but I have never once shelved a dream or experience while waiting for him to arrive.
Rachel McMillan (Dream, Plan, and Go: A Travel Guide to Inspire Your Independent Adventure)
The red-state/blue-state divide also helped conservatives perform one of their dearest rhetorical maneuvers, which we will call the latte libel: the suggestion that liberals are identifiable by their tastes and consumer preferences and that these tastes and preferences reveal the essential arrogance and foreignness of liberalism. While a more straightforward discussion of politics might begin by considering the economic interests that each party serves, the latte libel insists that such interests are irrelevant. Instead it’s the places that people live and the things that they drink, eat, and drive that are the critical factors, the clues that bring us to the truth. In particular, the things that liberals are said to drink, eat, and drive: the Volvos, the imported cheese, and above all, the lattes.*
Thomas Frank (What's the Matter With Kansas?: How Conservatives Won the Heart of America)
Parts of the works were being demolished prior to privatisation. For as far as I could see, cutting torches fizzed and flared and sent up showers of sparks from among the buckled girders. Heaps of waste smouldered in the mud between the huge corrugated sheds, giving off an acrid, low-lying smoke through which I could make out gantries crawling with oxygen pipes; muddy yards where the Mercedes, Volvo and Magirus Deutz trucks were parked in rows; the venous curves of a disused railway line – a bright, almost luminous green moss grew between its dull rails. As we walked past the shed now directly below us, I had seen what I thought were huge steel wheels piled on top of one another. They were already beginning to rust. This reminded me of how, at the turn of the eighteenth century, stone from France became cheaper than Hathersage grit. The grindstone industry collapsed, and work stopped in a day. Half-finished millstones are still scattered around at the base of the Peak District edges, for tourists to eat their lunch off.
M. John Harrison (Climbers)
The Suzuki hit a trace of diesel on the second one and shied sideways, damned near high-siding me into the back end of a lumbering Volvo saloon. It would have made an ironic change for a biker to have wiped out a Swedish tank,
Zoë Sharp (Killer Instinct (Charlie Fox Thriller, #1))
along with a Sentra whose trunk is being held closed by a length of frayed clothesline. A light-blue Volvo sedan
James Patterson (The Summer House)
I started back in high school in Orange County.  We used to crash cars to set off the air bags.  It sort of grew.  We figured if you packed enough kids into a Volvo with front and side air bags nobody could get seriously hurt.  We were wrong about that, but still, we had fun.
Terry Bisson (They're Made Out of Meat and 5 other All-Talk Tales)
Have no shame ... as another woman friend of mine counseled with perfect sincerity and cheer: 'Just gain the 25 pounds. I really think I would not have survived menopause--AND the death of my mother--without having gained these 25 pounds.' [quoting Sandra Tsing Loh's 'The Madwoman in the Volvo']
Heather Corinna (What Fresh Hell Is This?: Perimenopause, Menopause, Other Indignities, and You)
Why’d she move all the way to Montana from New York?” And why had she taken that drive alone? That wasn’t a safe trip, especially with an infant. She should have had help. How did an educated, gorgeous woman end up traveling across the country alone with a baby and what seemed like every one of her possessions stuffed into a Volvo?
Devney Perry (Juniper Hill (The Edens, #2))
No one thought it odd that Pierre always delivered a kick to the car upon entering or leaving, as Volvo-bashing was a general practice in southwestern France, and could even be encountered as far away as Paris. Indeed, carried to cosmopolitan centers around the world by tourists, Volvo-bashing was slowly becoming a cult activity throughout the world, and this pleased Nicholai Hel, since he had begun it all.
Trevanian (Shibumi)
Sell. Move out of London. Bigger garden, better schools, a dog, a Volvo estate. He wants us to be middle-class, middle-aged, welly-wearing bores, listening to Radio Four and moaning about the commute. He says it’s all for Sofia. But we both know it’s what he wants.
Nikki May (Wahala)
Driving into Huddersfield, Mary followed the signs for the city center and Kingsgate Shopping Centre. She managed to shoehorn the Volvo into the multistory car park without scraping too much paint off on the concrete pillars, then led the fractious and irritated children out in search of a toilet facility, fast food, and some sort of bribe. “There’s a GameStop in here,” she told Robert, “and something called The Entertainer Toy Shop. Wouldn’t you like to go there after lunch, children?
Charles Stross (Quantum of Nightmares (Laundry Files #11; The New Management, #2))
We could use geofencing to limit car speeds within cities, or certain parts of cities, or even by time of day or day of week such as when schools or bars let out. Doing so would save lives. We choose not to. Europe isn’t exactly limiting speeds, yet. But as of 2022, Europe requires that all new cars sold use GPS and street sign detection to determine if a driver is speeding and if so, warn the driver. Starting in 2021, Volvo limits top speeds on new cars to 112 mph. It’s not revolutionary—nor that helpful to pedestrians and bicyclists
Wes Marshall (Killed by a Traffic Engineer: Shattering the Delusion that Science Underlies our Transportation System)
It’s a much cooler car than my “safe” Volvo but it is like Edward Cullen’s one in Twilight.
Natasha Preston (The Twin)
Like you said, I drive a Volvo. How weird could I be?
Jess K. Hardy (Lips Like Sugar (Bluebird Basin, #2))
Apple introduces CarPlay for iPhone use in vehicles The CarPlay technology will be available in vehicles as early as this year. Photo: Bloomberg By Tom Lavell | 209 words Frankfurt: Apple Inc. on Monday said their new CarPlay technology will enable drivers use iPhone with voice commands or steering-wheel buttons, and will be available in vehicles as early as this year. Fiat SpA's Ferrari supercar division, Daimler AG's Mercedes-Benz luxury unit and Volvo Car Corp. will show customers the CarPlay system this week, with other auto producers introducing it later, Cupertino, California-based Apple said in a statement. CarPlay will be available as an update to the iOS 7 mobile software on iPhones, and works with the Siri voice-recognition feature. In-vehicle technology is the top selling point for 39% of car buyers, more than twice the 14% who cited traditional performance measures such as power and speed as their first consideration, consulting company Accenture Plc said in a study published in December. The US senate commerce committee chairman Jay Rockefeller, a West Virginia Democrat, vowed in February to pursue rules for in-vehicle use of mobile phones and Internet-linked entertainment systems unless carmakers and suppliers do more to limit disruptions to drivers' focus. "CarPlay lets drivers use their iPhone in the car with minimized distraction," Greg Joswiak, Apple's marketing vice president for the mobile device, said in Monday's statement, released in advance of the technology's debut at the Geneva International Motor Show this week. Bloomberg
Anonymous
Having more airbags than a Volvo doesn't make you attractive. Nothing is sexier than a polished soul. ‪‎Skyeism‬ 115
Skye Knizley
As Regina McGowan pulled her silver Volvo SUV into the driveway in front of the huge, farmhouse-style home, all Megan could see was boys. Boys everywhere. All seven of them plus their dad, running and laughing and shoving each other around on the front lawn, engaged in what appeared to be a full-contact, tackle version of ultimate Frisbee. They were playing shirts and skins. Shirts and mighty-fine-lookin’ skins. Megan’s pulse pounded in her ears. Forget evil, laughing little monsters. These guys had been touched by the Abercrombie gods. They were a blur of toned, suntanned perfection.
Kate Brian (Megan Meade's Guide to the McGowan Boys)
As Regina McGowan pulled her silver Volvo SUV into the driveway in front of the huge, farmhouse-style home, all Megan could see was boys. Boys everywhere. All seven of them plus their dad, running and laughing and shoving each other around on the front lawn, engaged in what appeared to be a full-contact, tackle version of ultimate Frisbee. They were playing shirts and skins. Shirts and mighty-fine-lookin’ skins. Megan’s pulse pounded in her ears. Forget evil, laughing little monsters. These guys had been touched by the Abercrombie gods. They were a blur of toned, suntanned perfection. For a few seconds, Megan had trouble focusing on any one of them, but then one of the skins scored a goal and jumped up, arms thrust in the air, whooping in triumph as he clutched the Frisbee in one hand. His six-pack abs were dotted with sweat and a couple of stray pieces of torn grass. His smile sent shivers right through Megan’s core. He had shaggy blond hair, a square chin, and the most perfect shoulder muscles Megan had ever seen. One of his brothers slapped him on the back and pointed toward the Volvo. He turned around and looked right at Megan. The rest of the world ceased to exist. “Well, here we are,” Regina said, killing the engine. “Megan?” He smiled slowly--a perfect, open, happy smile. “Megan?” Something touched Megan’s arm. “Oh! Uh…yeah?” Megan whipped her eyes away from Mr. Perfection and blushed. Regina’s brown eyes twinkled with amusement and sympathy. “You can live in the car if you want to, but they’ll find a way to get to you anyway.” “Oh…uh…” God, did she just catch me drooling all over one of her kids? Gross! “Don’t worry. They promised me they would be on their best behavior,” Regina said, unbuckling her seat belt. She swung her long dark hair over her shoulder as she got out of the car and leaned down to look at Megan. “My advice? Just be yourself. I’m sure you’ll be fine.” Megan managed to smile and Regina slammed the car door. Be myself. Yeah. Right. Because that’s gotten me so far in the past.
Kate Brian (Megan Meade's Guide to the McGowan Boys)
Doppler si uvědomuje, že má celého skautského zákona dost, dostává strašlivou chuť odhopsat po jedné noze zpátky k Maj Britt a hulit s ní trávu tak dlouho, dokud neuvidí smrtku s kosou.
Erlend Loe (Volvo Lastvagnar (Doppler, #2))
what it was—a clean slate, a chance to create something entirely different, a chance to discard all things that weren’t in sync with personal philosophies. Hope. That’s what it gave her most. By 3:30 p.m., the trash bins were all overflowing and her ten-year-old Volvo was stuffed to the ceiling. Zoe wandered the halls, wondering
Tanya Anne Crosby (The Things We Leave Behind)
because in point of fact we would have come flying if we had known remotely how much he was suffering.
Sandra Tsing Loh (The Madwoman in the Volvo: My Year of Raging Hormones)
My ex—who was an academic—and I used to argue about the best way to broil a salmon. Neither of us was grateful for the gift that someone else might cook it, albeit slightly incorrectly. It was a horrible way to live.
Sandra Tsing Loh (The Madwoman in the Volvo: My Year of Raging Hormones)
The success stories of the Chinese car industry have all been small, upstart companies, often sponsored by local governments—most notably the private firm Geely, which in 2010 acquired the Volvo passenger-car company.
Arthur R. Kroeber (China's Economy: What Everyone Needs to Know)
By changing my thinking patterns, I have somehow become able to excrete a hormone that douses anxiety instead of fuels it.
Sandra Tsing Loh (The Madwoman in the Volvo: My Year of Raging Hormones)
Remember who you wanted to be. — BUMPER STICKER ON VOLVO IN THE HOME DEPOT PARKING LOT
Ken Ilgunas (Walden on Wheels: On the Open Road from Debt to Freedom)
مونږ ځانونه څومره غټ ګڼو. اوس خو هر یو کس څه نا څه بچ کوي. ' بوټي بچ کړئ، مچۍ بچ کړئ، ویل سمندري مایان بچ کړئ، سنیل چینجي بچ کړئ.' او تر ټولو زیات غرور خو يې په دې کې دې: زمکه بچ کړئ. مونږ ته خو دا هم نه دي معلوم چې د ځانونو خیال څنګه وساتو. د دا قسمه غ**و خو زه سم تنګ راغلې یم. زه د زمکې غ***ې ورځ Earth Day نه سم تنګ راغلې یم. زه دغه د چاپیریال ساتونکو نه ډیر تنګ راغلې چې ځان ورله ډیر نیک ښکاري، دغه سور پوستکي، منځ پوړي ازاد فکران چې سوچ کوي د دې هیواد یواځینۍ ستونزه دا ده چې دلته د سائیکلو لارې ډیرې نشته. دا خلک د خپلو Volvo موټرونو د پاره نړۍ خوندي ساتل غواړي. هسې هم دغه چاپیرل ساتنې غوښتونکې د زمکې سره هیڅ مینه نه لري. په فکر کې نا، نه يې لري. تاسو ته معلوم دې چې څه سره شوق لري؟ د اوسیدو د پاره یو پاک ځای. خپل استوګن ځای يې. دوئ ناکلاره دي چې په ائنده کې به یوه ورځ دوئ ته تکلیف ورسي. تنګ، په- فکر- تورو مفاداتو سره زه هیڅ شوق نه لرم. زمکې خو د دې نه زیات تکلیفونه تیر کړي. زلزلې، اوراباسونکي غرونه، د زمکې لاندې پتریو خوځیدنه، د براعظمونو بهیدنه، په لمر کې دننه د اور لمبې تیزیدنه، د لمر دننه ځینې ځایونو کې د اور مړیدینه، مقناطیسي توپانونه، د زمکې قطب او شمال برقي وضعې په بل مخ اوړیدنه .........لکونو زرګونو کلونو راهیسې په اسمان کې لمبوزنو شهاب ثاقب، لویو ډبرو او کاڼو په زمکه بمبارۍ، نړیوال سیلابونو، د سپوږمۍ د وجې جوړ شوي غټ سمندري موجونه، نړۍ کې ښور اورونه، د زمکې وروستیدنه او رالویدنه، اسماني شغلې، بیا بیا راتلونکې د واورې دورونه، ..... او مونږ سوچ کوو چې یو څو پلاستک بوجۍ او یو څو د الومینیم ډبي به ډیر فرق راولي؟ زمکه چیرې هم ځي. مونږ ترې روان یو مونږ! مونږ روان یو. یا خلکو! خپل غ* غوشایه مو تړئ. مونږ روان یو. او زمونږ به داسې خاص څه نخښې هم پاتې نشي. کیدې شي لږ د سټائروفوم پلاسټک نخښه به پا تې شي. زمکه به هم دلته وي او مونږ به ترې پخوا تلي یو. د تغیر خوړونکې یو بل ناکامه تجرباتي مخلوق په شان. یو بل حیاتیاتي غلطۍ په شان چې هیڅ ائنده نه لري. یوې بندې ارتقايي کوڅې په شان. دا زمکه به مونږ له خپل بدن نه داسې وڅنډوي لکه کوټک چې پریوځي. مونږ به ترې لاړ یو او دا زمکه به ډیر لوی، لوی او لوی وخت د پاره موجوده وي، او خپل بدن به پخپله روغ کړي، خپل ځان به سپا کړي، ځکه چې زمکه هم دغه شان کوي. زمکه داسې نظام لري چې ځان پخپله رغوي. دا هوا او دا اوبه به بیا روغې شي، زمکه به نوې شي. او که دا رښتیا وي چې پلاسټک په زمکه کې نه ماتیږې، نه وروستیږي او نه ختمیږي، نو په دې کې څه، زمکه به په اسانې سره دا د خپل نوي نظام برخه کړي: زمکه + پلاسټک. زمکه زمونږ په شان پلاسټک سره څه تعصب نه لري. پلاسټک خو د زمکې نه راغلې دې. کیدې شي زمکه پلاسټک ته هم هغسې ګوري لکه چې خپلو نورو بچو ته ګوري. کیدې شې زمکې زمونږ د پیدا کیدو اجازه هم ځکه ورکړې وه چې پلاسټک يې پکار و. خو د جوړولو چل نه ورتلو. نو مونږ ته يې حاجت شو. کیدې شي دا ځواب وي زمونږ د هغه ځان – غټ – ګڼونکي، ځان - خوښونکي فلسفیانه سوال چې دا دې: مونږ دلته ولې راغلي یو؟ ځواب يې پلاسټک دې ...... ک*****و!
George Carlin
Let’s call it the theory of receptivity. It’s the idea, often cited by young people in their case against the relevance of even marginally older people, that one’s taste—in music or film, literature or fine cuisine—petrifies during life’s peak of happiness or nadir of misery. Or maybe it’s not that simple. Maybe a subtler spike on the charts—upward, downward, anomalous points in between—might qualify, so long as it’s formative. Let’s say that receptivity, anyway, can be tied to the moments when, for whatever reason, a person opens herself to the things we can all agree make life worth living in a new and definitive way, whether curiosity has her chasing down the world’s pleasures, or the world has torn a strip from her, exposing raw surface area to the winds. During these moments—sleepaway camp right before your bar mitzvah; the year you were captain of the hockey team and the baseball team; the time after you got your license and before you totaled the Volvo—you are closely attuned to your culture, reaching out and in to consume it in vast quantities. When this period ends, your senses seal off what they have absorbed and build a sensibility that becomes, for better or worse, definitive: This is the stuff I like. These films/books/artists tell the story of who I am. There is no better-suited hairstyle. This is as good/bad as it gets for me. The theory suggests that we only get a couple of these moments in life, a couple of sound tracks, and that timing is paramount. If you came of age in the early eighties, for instance, you may hold a relatively shitty cultural moment to be the last time anything was any good simply because that was the last time you were open and engaged with what was happening around you, the last time you felt anything really—appallingly—deeply. I worry about this theory. I worry because it suggests that receptivity is tied closely to youth, and firsts, and also because as with many otherwise highly rejectable theories—Reaganomics and communism come to mind—there is that insolent nub of truth in it.
Michelle Orange (This Is Running for Your Life: Essays)
Evidence based medicine is meant to ensure that quality treatment options are chosen and diagnosis is based on empirical evidence rather than personal assumptions. But this area adapts to changes more slowly than other industries do. For example, after the driverless car developed by Google ran for 1 million miles without incident, car manufacturers such as Volvo announced the inclusion of such algorithms in its future models. For obvious reasons things are a bit slower in healthcare. But soon an ever–increasing gap is going to be too big to cope with.
Bertalan Meskó (The Guide to the Future of Medicine (2022 Edition): Technology AND The Human Touch)
Size and homogeneity are of course not transferable. There is no way for India or the USA to become Austria or Norway, and in their purest form the social democratic welfare states of Europe are simply non-exportable: they have much the same appeal as a Volvo—and some similar limitations—and may be hard to sell to countries and cultures where expensive virtues of solidity and endurance count for less.
Tony Judt (Ill Fares The Land: A Treatise On Our Present Discontents)
The hormonal imbalance is actually fertility. Fertility is the change. That's when a woman loses herself.
Sandra Tsing Loh (The Madwoman in the Volvo: My Year of Raging Hormones)
I remember when my kitten got run over. My mother was devastated. She put it in a green garbage bag and cried and cried. She said she couldn't stop picturing that little cat. Tumbling and tumbling and tumbling.
Sandra Tsing Loh (The Madwoman in the Volvo: My Year of Raging Hormones)
Sometimes you just have to go through the crash and see if you can walk away on two legs.
Sandra Tsing Loh (The Madwoman in the Volvo: My Year of Raging Hormones)
Cissy had proven to be a major asset during the journey home. Fueled by journalistic pride and booze, she drove ahead of Cormac, honking at oncoming traffic to make sure that they allowed the Volvo ample clearance. At one point in time, she tried to lead them on a shortcut through a city park. Cormac didn't think the couch could handle an off-road journey, so he stuck to the road. Cissy later confirmed that she'd actually nodded off at the wheel. She said that she'd hit a goose, and would prefer not to discuss it.
Conor Lastowka (Gone Whalin')
but all things considered, he could go a very long time not being run over by a Volvo again and feel just dandy about it. He
Christopher Moore (The Stupidest Angel (Pine Cove, #3))
made reservations at a famous fishing lodge on the Au Sable River in Michigan. When I got there and found a place to park among the Saabs and Volvos the proprietor said I was just a few days early for the Hendrikson hatch. There is, I see, one constant in all types of fishing, which is when the fish are biting, which is almost-but-not-quite-now. I looked pretty good making false casts in the lodge parking lot. I mean no one doubled over with mirth. But most of the other two thousand young professionals fishing this no-kill stretch of the Au Sable were pretty busy checking to make sure that their trout shirts were color coordinated with their Reebok wading sneakers. When I stepped in the river, however, my act came to pieces. My line hit the water like an Olympic belly flop medalist. I hooked four “tree trout” in three minutes. My back casts had people ducking for cover in Traverse City and Grosse Pointe Farms. Somebody ought to tie a dry fly that looks like a Big Mac. Then there’d be an excuse for the hook winding up in my mouth instead of the fish’s. The only thing I could manage to get a drag-free float on was me after I stepped in a hole. And the trout? The trout laughed.
P.J. O'Rourke (Thrown Under the Omnibus: A Reader)
The headmaster's sleek silver Volvo was in its usual reserved spot, right by the door. It was the perfect choice for Dr Grover. Outwardly discreet and reliable, it was also eye-wateringly expensive and luxurious - like his ties - and it cunningly referenced those wonderful Scandiwegian detective drama series that Dulwich parents tended to get addicted to. All too appropriate at the moment
Alice Castle (The Murder Mystery (A Beth Haldane Mystery #1))
Moorkop en Negerzoen in het Walhalla schrijverschap.
Petra Hermans (Voor een betere wereld)