Water For Elephants Quotes

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

When two people are meant to be together, they will be together. It's fate.
Sara Gruen (Water for Elephants)
With a secret like that, at some point the secret itself becomes irrelevant. The fact that you kept it does not.
Sara Gruen (Water for Elephants)
I want her to melt into me, like butter on toast. I want to absorb her and walk around for the rest of my days with her encased in my skin. I want.
Sara Gruen (Water for Elephants)
Keeping up the appearance of having all your marbles is hard work, but important.
Sara Gruen (Water for Elephants)
Life is the most spectacular show on earth ♥
Sara Gruen (Water for Elephants)
When will people learn that just because you can make something doesn’t mean you should?
Sara Gruen (Water for Elephants)
The more distressing the memory, the more persistent it's presence.
Sara Gruen (Water for Elephants)
Age is a terrible thief. Just when you're getting the hang of life, it knocks your legs out from under you and stoops your back. It makes you ache and muddies your head and silently spreads cancer throughout your spouse.
Sara Gruen (Water for Elephants)
Even as your body betrays you, your mind denies it.
Sara Gruen (Water for Elephants)
Dear God. Not only am I unemployed and homeless, but I also have a pregnant woman, bereaved dog, elephant, and eleven horses to take care of.
Sara Gruen (Water for Elephants)
When you are five, you know your age down to the month. Even in your twenties, you know how old you are. I'm twenty-three you say, or maybe twenty-seven. But then in your thirties, something strange starts to happen. It is a mere hiccup at first, an instant of hesitation. How old are you? Oh, I'm--you start confidently, but then you stop. You were going to say thirty-three, but you are not. You're thirty-five. And then you're bothered, because you wonder if this is the beginning of the end. It is, of course, but it's decades before you admit it.
Sara Gruen (Water for Elephants)
Is where you're from the place you're leaving or where you have roots?
Sara Gruen (Water for Elephants)
...if you expect people to try to do things your way, you're going to have to give some hints as to what that way is.
Sara Gruen (Water for Elephants)
You may control a mad elephant; You may shut the mouth of the bear and the tiger; Ride the lion and play with the cobra; By alchemy you may learn your livelihood; You may wander through the universe incognito; Make vassals of the gods; be ever youthful; You may walk in water and live in fire; But control of the mind is better and more difficult.
Paramahansa Yogananda (Autobiography of a Yogi)
Why the hell shouldn't I run away with the circus?
Sara Gruen (Water for Elephants)
It's just a crazy damned life, that's all ...
Sara Gruen (Water for Elephants)
I look after those who look after me." He smacks his lips, stares at me, and adds, "I also look after those who don't." - Sara Gruen (Water for Elephants)
Sara Gruen (Water for Elephants)
Being the survivor stinks.
Sara Gruen (Water for Elephants)
Although there are times I'd give anything to have her back, I'm glad she went first. Losing her was like being cleft down the middle. It was the moment it all ended for me, and I wouldn't have wanted her to go through that.
Sara Gruen (Water for Elephants)
Sometimes I think if I had to choose between an ear of corn or making love to a woman, I'd choose the corn.
Sara Gruen (Water for Elephants)
i meant what i said, and i said what i meant.
Sara Gruen (Water for Elephants)
I stroke her lightly, memorizing her body. I want her to melt into me, like butter on toast. I want to absorb her and walk around for the rest of my days with her encased in my skin. I lie motionless, savoring the feeling of her body against mine. I'm afraid to breathe in case I break the spell.
Sara Gruen (Water for Elephants)
The whole thing's illusion, [Jacob], and there's nothing wrong with that. It's what people want from us. It's what they expect.
Sara Gruen (Water for Elephants)
When two people are meant to be together, they will be together. It's fate." - Jacob Jankowski, Water For Elephants
Sara Gruen (Water for Elephants)
I stare at her for a long moment. I want to kiss her. I want to kiss her more than I've ever wanted anything in my life.
Sara Gruen (Water for Elephants)
I roll onto my side and stare out the venetian blinds at the blue sky beyond. After a few minutes I'm lulled into a sort of peace. The sky, the sky--same as it always was.
Sara Gruen (Water for Elephants)
Remember this, for it is as true and true gets: Your body is not a lemon. You are not a machine. The Creator is not a careless mechanic. Human female bodies have the same potential to give birth well as aardvarks, lions, rhinoceri, elephants, moose, and water buffalo. Even if it has not been your habit throughout your life so far, I recommend that you learn to think positively about your body.
Ina May Gaskin (Ina May's Guide to Childbirth)
After you're dead and buried and floating around whatever place we go to, what's going to be your best memory of earth? What one moment for you defines what it's like to be alive on this planet. What's your takeaway? Fake yuppie experiences that you had to spend money on, like white water rafting or elephant rides in Thailand don't count. I want to hear some small moment from your life that proves you're really alive.
Douglas Coupland (Generation X: Tales for an Accelerated Culture)
What else do I have to offer? Nothing happens to me anymore. That’s the reality of getting old, and I guess that’s really the crux of the matter. I’m not ready to be old yet.
Sara Gruen (Water for Elephants)
Afterward she lies nestled against me, her hair tickling my face. I stroke her lightly, memorizing her body. I want her to melt into me, like butter on toast. I want to absorb her and walk around for the rest of my days with her encased in my skin.
Sara Gruen (Water for Elephants)
Life goes on with fragile normalcy.
Sara Gruen
And then I laugh, because it's so ridiculous and so gorgeous and it's all I an do to not melt into a fit of giggles. So what if I'm ninety-three? So what if I'm ancient and cranky and my body's a wreck? If they're willing to accept me and my guilty conscience, why the hell shouldn't I run away with the circus? It's like Charlie told the cop. For this old man, this IS home.
Sara Gruen
I had my whole life planned.. I knew exactly where it was taking me..
Sara Gruen (Water for Elephants)
Age is terrible thief. Just when you're getting the hang of life, it knocks your legs out from under you and stoops your back
Sara Gruen (Water for Elephants)
How is it that everyone on this train has so much alcohol?" "We always head to Canada at the beginning of the season," she says taking her seat again. "Their laws are much more civilized. Cheers.
Sara Gruen (Water for Elephants)
Life is the greatest show on earth!
Sara Gruen (Water for Elephants)
It's as though I've been sleepwalking and suddenly woken to find myself here
Sara Gruen (Water for Elephants)
A black shadow dropped down into the circle. It was Bagheera the Black Panther, inky black all over, but with the panther markings showing up in certain lights like the pattern of watered silk. Everybody knew Bagheera, and nobody cared to cross his path, for he was as cunning as Tabaqui, as bold as the wild buffalo, and as reckless as the wounded elephant. But he had a voice as soft as wild honey dripping from a tree, and a skin softer than down.
Rudyard Kipling (The Jungle Books)
Honey, I plan to marry you the moment the ink is dry on that death certificate.
Sara Gruen (Water for Elephants)
Then I lie down on the horse blanket and drift into a dream about Marlena that will probably cost me my soul.
Sara Gruen (Water for Elephants)
Hey! Shouts Camel. There ain't no woman in the world worth two bottles of whiskey!
Sara Gruen (Water for Elephants)
After that day when I saw the elephant, I let myself see more and believe more. It was a game I played with myself. When I told Alma the things I saw she would laugh and tell me she loved my imagination. For her I changed pebbles into diamonds, shoes into mirrors, I changed glass into water, I gave her wings and pulled birds from her ears and in her pockets she found the feathers, I asked a pear to become a pineapple, a pineapple to become a lightbulb, a lightbulb to become the moon, and the moon to become a coin I flipped for her love, both sides were heads: I knew I couldn't lose.
Nicole Krauss (The History of Love)
...poking a lump of red Jello that jiggles outrageously, like a breast I once knew.
Sara Gruen (Water for Elephants)
When did I stop being me?
Sara Gruen (Water for Elephants)
After sixty-one years together, she simply clutched my hand and exhaled.
Sara Gruen (Water for Elephants)
I just can't. I'm married. I made my bed and now I have to lie in it.
Sara Gruen (Water for Elephants)
Afterward, I curl around her. We lie in silence until darkness falls, and then, haltingly, she begins to talk...She speaks without need or even room for response, so I simply hold her and stroke her hair. She talks of the pain, grief, and horror of the past four years; of learning to cope with being the wife of a man so violent and unpredictable his touch made her skin crawl and of thinking, until quite recently, that she'd finally managed to do that. And then, finally, of how my appearance had forced her to realize she hadn't learned to cope at all.
Sara Gruen (Water for Elephants)
Now, go shovel some shit.
Sara Gruen (Water for Elephants)
He stares at me, and then leans back in his chair. "He's ill, Jacob." I say nothing. "He's a paragon schnitzophonic." "He's what?!" "Paragon schnitzophonic," repeats Uncle Al. "You mean paranoid schizophrenic?" "Sure. Whatever. But the bottom line is he's mad as a hatter...
Sara Gruen (Water for Elephants)
I'm an elephant today. I will need to have lots of room and also a bowl of water on the floor.
Jesse Ball (The Curfew)
I scan the room. Catherine is writing quickly, her light brown hair falling over her face. She is left-handed, and because she writes in pencil her left arm is silver from wrist to elbow.
Sara Gruen (Water for Elephants)
Sometimes when you get older — and I’m not talking about you, I’m talking generally, because everyone ages differently — things you think on and wish on start to seem real. And then you believe them, and before you know it they’re part of your history, and if someone challenges you on them and says they’re not true — why, then you get offended because you can’t remember the first part. All you know is that you’ve been called a liar.
Sara Gruen (Water for Elephants)
Although, pretending not to notice is almost worse than noticing.
Sara Gruen (Water for Elephants)
The thought has cheered me, and I'd like to hang onto that. Must protect my little pockets of happiness.
Sara Gruen (Water for Elephants)
In your thirties something strange starts to happen. It’s a mere hiccup at first, an instant of hesitation. How old are you? Oh, I’m — you start confidently, but then you stop. You were going to say thirty-three, but you’re not. You’re thirty-five. And then you’re bothered, because you wonder if this is the beginning of the end. It is, of course, but it’s decades before you admit it.
Sara Gruen (Water for Elephants)
I used to think I preferred getting old to the alternative, but now I'm not sure. Sometimes the momotony of bingo and sing-alongs and ancient dusty people parked in teh hallway in wheelchairs makes me long for death. Particularly when I rememver that I'm one of the ancient dusty people, filed away like some worthless tchotchke.
Sara Gruen (Water for Elephants)
You do right by me, I'll show you a life most suckers can't even dream of.
Sara Gruen (Water for Elephants)
But it all zipped by. One minute Marlena and I were up to our eyeballs, and the next thing we knew the kids were borrowing the car and fleeing the coop for college. And now, here I am. In my nineties and alone.
Sara Gruen (Water for Elephants)
I open the orangutan's door and set a pan of fruits, vegetables, and nuts on the floor. As I close it, her long arm reaches through the bars. She points at an orange in another pan. 'That? You want that?' She continues to point, blinking at me with close-set eyes. Her features are concave, her face a wide platter fringed with red hair. She's the most outrageous and beautiful thing I've ever seen. 'Here,' I say, handing her the orange. 'You can have it.' She takes it and sets it on the floor. Then she reaches out again. After several seconds of serious misgivings, I hold out my hand. She wraps her long fingers around it, then lets go. She sits on her haunches and peels her orange. I stare in amazement. She was thanking me.
Sara Gruen (Water for Elephants)
Remember this, for it is as true as true gets: Your body is not a lemon. You are not a machine. The Creator is not a careless mechanic. Human female bodies have the same potential to give birth well as aardvarks, lions, rhinoceri, elephants, moose, and water buffalo. Even if it has not been your habit throughout your life so far, I recommend that you learn to think positively about your body.
Ina May Gaskin (Ina May's Guide to Childbirth)
She looks at her watch - a real one, with arms. Those digital ones came and went, thank God. When will people learn that just because you can make something doesn't mean you should?
Sara Gruen (Water for Elephants)
When I first submerged my feet into frigid water, they hurt so badly I yanked them out again. I persisted, dunking them for longer and longer periods, until the cold finally blistered.
Sara Gruen (Water for Elephants)
When she comes to retrieve me [in the nursing home], after the tan-colored pudding with edible oil topping has sat for a while and been removed...
Sara Gruen (Water for Elephants)
They grew fat and happy--the horses, not the children, or Marlena for that matter.
Sara Gruen (Water for Elephants)
Do you have any idea how much an elephant drinks?
Sara Gruen (Water for Elephants)
So what if I'm ninety-three? So what if I'm ancient and cranky and my body's a wreck? If they're willing to accept me and my guilty conscience, why the hell shouldn't I run away with the circus? It's like Charlie told the cop. For this old man, this is home.
Sara Gruen (Water for Elephants)
The sky the sky- same as it always was.
Sara Gruen (Water for Elephants)
Some Hindus have an elephant to show. No one here has ever seen an elephant. They bring it at night to a dark room. One by one, we go in the dark and come out saying how we experience the animal. One of us happens to touch the trunk. A water-pipe kind of creature. Another, the ear. A strong, always moving back and forth, fan-animal. Another, the leg. I find it still, like a column on a temple. Another touches the curve back. A leathery throne. Another, the cleverest, feels the tusk. A rounded sword made of porcelain. He is proud of his description. Each of us touches one place and understands the whole in that way. The palm and the fingers feeling in the dark are how the senses explore the reality of the elephant. If each of us held a candle there, and if we went in together, we could see it.
Jalal ad-Din Muhammad ar-Rumi (A Year with Rumi: Daily Readings)
Sometimes the monotony of bingo and sing alongs, ancient dusty people parked in the hallway in wheelchairs makes me long for death, particularly when -- remember that I'm one of the ancient dusty people, filed away like some worthless chotski.
Sara Gruen (Water for Elephants)
He whispers in her ear, and she basks in his attention, trumpeting happily at the sight of him. Doesn't she remember?
Sara Gruen (Water for Elephants)
Age is a terrible thief.
Sara Gruen (Water for Elephants)
Even as your body betrays you, your mind denies it
Sara Gruen (Water for Elephants)
I have to convince myself that this is not a pointless life, even the body is telling me so.
Sara Gruen (Water for Elephants)
We traveled for two weeks with a pickled hippo.
Sara Gruen (Water for Elephants)
I hate this bizarre policy of protective exclusion, because it effectively writes me off the page.
Sara Gruen (Water for Elephants)
I'm afraid to breathe in case I break the spell.
Sara Gruen (Water for Elephants)
My platitudes don't hold their interest and I can hardly blame them for that. My real stories are all out of date. So what if I can speak firsthand about the Spanish flu, the advent of the automobile, world wars, cold wars, guerrilla wars, and Sputnik — that's all ancient history now. But what else do I have to offer? Nothing happens to me anymore. That's the reality of getting old, and I guess that's really the crux of the matter. I'm not ready to be old yet.
Sara Gruen (Water for Elephants)
Jacob: I've never seen so much manure. Wade: Baggage stock horses. They pack'em in 27 a car. Jacob: how do you stand the smell? Wade: what smell?
Sara Gruen (Water for Elephants)
All I can do is put in time waiting for the inevitable, observing as the ghost of my past rattle around my vacuous present. They crash and bang and make themselves at home, mostly because there's no competition. I've stopped fighting them. They're crashing and banging around in there now. Make yourselves at home, boys. Stay awhile. Oh, sorry- I see you already have. Damn ghost.
Sara Gruen (Water for Elephants)
but it's no use. I m already on my feet. She drags me onto the dance floor, jiving and snapping her fingers. When we're surrounded by other couples she turns to me. I take a deep breath and then take her in my arms. We wait a couple beats and then we're off, floating around the dance floor in a swirling sea of people. She's light as air--doesn't miss a step, and that's a feat considering how clumsy I am. And it's not as though I don't know how to dance, because I do. I don't know what the hell is wrong with me. I'm sure as hell not drunk.
Sara Gruen (Water for Elephants)
My father felt it was his duty to continue to treat animals long after he stopped getting paid. He couldn't stand by and watch a horse colic or a cow labor with a breech calf even though it meant personal ruin. The parallel is undeniable. There is no question I am the only thing standing between these animals and the business practices of August and Uncle Al, and what my father would do - what my father would want me to do - is look after them, and I am filled with that absolute and unwavering conviction. No matter what I did last night, I cannot leave these animals. I am their shepherd, their protector. And it's more than a duty. It's a covenant with my father.
Sara Gruen (Water for Elephants)
I realize the blackness of sleep is circling my head. It's been there a while, biding its time and growing closer with each revolution. I give up on rage, which at this point has become a formality, and make a mental note to get angry in the morning.
Sara Gruen (Water for Elephants)
There is no question that I am the only thing standing between these animals and the business practices of August and Uncle Al, and what my father would do--what my father would want me to do--is look after them, and I am filled with that absolute and unwavering conviction. No matter what I did last night, I cannot leave these animals. I am their shepherd, their protector.
Sara Gruen (Water for Elephants)
I reach for the napkin, and as I do I catch sight of my hands. They are knobby and crooked, thin-skinned, and—like my ruined face—covered with liver spots. My face. I push the porridge aside and open my vanity mirror. I should know better by now, but somehow I still expect to see myself. Instead, I find an Appalachian apple doll, withered and spotty, with dewlaps and bags and long floppy ears. A few strands of white hair spring absurdly from its spotted skull. I try to brush the hairs flat with my hand and freeze at the sight of my old hand on my old head. I lean close and open my eyes very wide, trying to see beyond the sagging flesh. It's no good. Even when I look straight into the milky blue eyes, I can't find myself anymore. When did I stop being me?
Sara Gruen (Water for Elephants)
Sometimes I think that if I had to choose between an ear of corn or making love to a woman, I'd choose the corn. Not that I wouldn't love to have a final roll in the hay - I am a man yet, and something never die - but the thought of those sweet kernels bursting between my teeth sure sets my mouth to watering. It's fantasy, I know that. Neither will happen. I just like to weight the options, as though I were standing in front of Solomon: a final roll in the hay or an ear of corn. What a wonderful dilemma. Sometimes I substitute an apple for the corn.
Sara Gruen (Water for Elephants)
What one moment from you defines what it’s like to be alive on this planet. What’s your takeaway?’’ There is silence. Tobias doesn’t get her point, and frankly, neither do I. She continues: ‘’Fake yuppie experiences that you had to spend money on, like white water rafting or elephant rides in Thailand don’t count. I want to hear some small moment from your life that proves you’re really alive.
Douglas Coupland (Generation X: Tales for an Accelerated Culture)
All right. Let's give you something to tell your grandkids about. Or great-grandkids. Or great-great-grandkids." I snort with glee, delirious with excitement. Charlie winks and pours me another finger's worth of whiskey. Then, on second thought, he tips the bottle again. I reach out and grab its neck. "Better not," I say. "Don't want to get tipsy and break a hip.
Sara Gruen (Water for Elephants)
Sometimes when you get older—and I'm not talking about you, I'm talking generally, because everyone ages differently—things you think on and wish on start to seem real. And then you believe them, and before you know it they're a part of your history, and if someone challenges you on them and says they're not true—why, then you get offended.
Sara Gruen (Water for Elephants)
‘I’m fairly bursting tae ken how ye guessed I spoke Scots?’ Lymond looked up. Superficial pain, withstood or ignored for quite a long time, had made his eyes heavy, but they were brimming with laughter. ‘Well, God,’ he said. ‘In the water, you were roaring your head off at a bloody bull elephant called Hughie.
Dorothy Dunnett (Queens' Play (The Lymond Chronicles, #2))
Bathing is even more embarrassing, because I have to strip down to my birthday suit in front of a nurse. Now, there are some things that never die, so even though I'm in my nineties my sap sometimes rises. I can't help it. They always pretend not to notice. They're trained that way, I suppose, although pretending not to notice is almost worse than noticing. It means they consider me nothing more than a harmless old man sporting a harmless old penis that still gets uppity once in a while. Although if one of them took it seriously and tried to do something about it, the shock would probably kill me.
Sara Gruen (Water for Elephants)
On the day of the hunt I came to know in the slick center of my bones this one thing; all animals kill to survive, and we are animals. The lion kills the baboon, the baboon kills fat grasshoppers. The elephant tears up living trees, dragging their precious roots from the dirt they love....And we, even if we had no meat or even grass to gnaw, still boil our water to kill the invisible creatures that would like to kill us first. And swallow quinine pills. The death of something living is the price of our own survival, and we pay it again and again. We have no choice. It is the one solemn promise every life on earth is born and bound to keep.
Barbara Kingsolver (The Poisonwood Bible)
Different sorts of survival machine appear very varied on the outside and in their internal organs. An octopus is nothing like a mouse, and both are quite different from an oak tree. Yet in their fundamental chemistry they are rather uniform, and, in particular, the replicators that they bear, the genes, are basically the same kind of molecule in all of us—from bacteria to elephants. We are all survival machines for the same kind of replicator—molecules called DNA— but there are many different ways of making a living in the world, and the replicators have built a vast range of machines to exploit them. A monkey is a machine that preserves genes up trees, a fish is a machine that preserves genes in the water; there is even a small worm that preserves genes in German beer mats. DNA works in mysterious ways.
Richard Dawkins (The Selfish Gene)
[excerpt] The usual I say. Essence. Spirit. Medicine. A taste. I say top shelf. Straight up. A shot. A sip. A nip. I say another round. I say brace yourself. Lift a few. Hoist a few. Work the elbow. Bottoms up. Belly up. Set ‘em up. What’ll it be. Name your poison. I say same again. I say all around. I say my good man. I say my drinking buddy. I say git that in ya. Then a quick one. Then a nightcap. Then throw one back. Then knock one down. Fast & furious I say. Could savage a drink I say. Chug. Chug-a-lug. Gulp. Sauce. Mother’s milk. Everclear. Moonshine. White lightning. Firewater. Hootch. Relief. Now you’re talking I say. Live a little I say. Drain it I say. Kill it I say. Feeling it I say. Wobbly. Breakfast of champions I say. I say candy is dandy but liquor is quicker. I say Houston, we have a drinking problem. I say the cause of, and solution to, all of life’s problems. I say god only knows what I’d be without you. I say thirsty. I say parched. I say wet my whistle. Dying of thirst. Lap it up. Hook me up. Watering hole. Knock a few back. Pound a few down. My office. Out with the boys I say. Unwind I say. Nurse one I say. Apply myself I say. Toasted. Glow. A cold one a tall one a frosty I say. One for the road I say. Two-fisted I say. Never trust a man who doesn’t drink I say. Drink any man under the table I say. Then a binge then a spree then a jag then a bout. Coming home on all fours. Could use a drink I say. A shot of confidence I say. Steady my nerves I say. Drown my sorrows. I say kill for a drink. I say keep ‘em comin’. I say a stiff one. Drink deep drink hard hit the bottle. Two sheets to the wind then. Knackered then. Under the influence then. Half in the bag then. Out of my skull I say. Liquored up. Rip-roaring. Slammed. Fucking jacked. The booze talking. The room spinning. Feeling no pain. Buzzed. Giddy. Silly. Impaired. Intoxicated. Stewed. Juiced. Plotzed. Inebriated. Laminated. Swimming. Elated. Exalted. Debauched. Rock on. Drunk on. Bring it on. Pissed. Then bleary. Then bloodshot. Glassy-eyed. Red-nosed. Dizzy then. Groggy. On a bender I say. On a spree. I say off the wagon. I say on a slip. I say the drink. I say the bottle. I say drinkie-poo. A drink a drunk a drunkard. Swill. Swig. Shitfaced. Fucked up. Stupefied. Incapacitated. Raging. Seeing double. Shitty. Take the edge off I say. That’s better I say. Loaded I say. Wasted. Off my ass. Befuddled. Reeling. Tanked. Punch-drunk. Mean drunk. Maintenance drunk. Sloppy drunk happy drunk weepy drunk blind drunk dead drunk. Serious drinker. Hard drinker. Lush. Drink like a fish. Boozer. Booze hound. Alkie. Sponge. Then muddled. Then woozy. Then clouded. What day is it? Do you know me? Have you seen me? When did I start? Did I ever stop? Slurring. Reeling. Staggering. Overserved they say. Drunk as a skunk they say. Falling down drunk. Crawling down drunk. Drunk & disorderly. I say high tolerance. I say high capacity. They say protective custody. Blitzed. Shattered. Zonked. Annihilated. Blotto. Smashed. Soaked. Screwed. Pickled. Bombed. Stiff. Frazzled. Blasted. Plastered. Hammered. Tore up. Ripped up. Destroyed. Whittled. Plowed. Overcome. Overtaken. Comatose. Dead to the world. The old K.O. The horrors I say. The heebie-jeebies I say. The beast I say. The dt’s. B’jesus & pink elephants. A mindbender. Hittin’ it kinda hard they say. Go easy they say. Last call they say. Quitting time they say. They say shut off. They say dry out. Pass out. Lights out. Blackout. The bottom. The walking wounded. Cross-eyed & painless. Gone to the world. Gone. Gonzo. Wrecked. Sleep it off. Wake up on the floor. End up in the gutter. Off the stuff. Dry. Dry heaves. Gag. White knuckle. Lightweight I say. Hair of the dog I say. Eye-opener I say. A drop I say. A slug. A taste. A swallow. Down the hatch I say. I wouldn’t say no I say. I say whatever he’s having. I say next one’s on me. I say bottoms up. Put it on my tab. I say one more. I say same again
Nick Flynn (Another Bullshit Night in Suck City)
Those of us who are in tune with nature and animals know it is our way of life, Bram. There is a connection to all living things, a vibration of Life. Animals were not given a power of choice. A lion does not try and eat legumes, nor an elephant meat. We believe the best way to communicate with nature, God, is through a liaison: the animals..... Nature hears one voice and obeys it. That is why ten or ten thousand birds may rise from the surface of a lake at the same time and yet never touch one another. Man only hears his own voice. He constantly bumps into another. Even his voice mirrors his erratic walk, jealousy, hate, ego, pride, lying, cheating. He makes his own judgements and falls prey to his greed. Remember, the moon is reflected on one drop of water as is the entire ocean-- so it is with God. He is reflected ins each living thing-- in a grain of sand as the entire shore, one star as the whole universe. Each animal as in all creatures. -Jagrat
Ralph Helfer (Modoc: The True Story of the Greatest Elephant That Ever Lived)
I hadn't realized how supremely shit-housed I was until we stumbled into our room at the Embassy Suites. You ever been so drunk you forgot that you have to shit until the last minute? Well I was at that stage. I nearly had my pants completely off when SlingBlade snaked past me and got into the toilet first. Fine, I go get out of my bar clothes and change into a t-shirt and pink Gap boxers to sleep in. I wait patiently for about three minutes, then I start pounding on the door, screaming at him that I am going to shit on his bed if he doesn't get out of there. A short time later he opens the door laughing his ass off, and says, "That was perhaps the most prodigious shit ever. I just put that toilet into therapy." I take a gander into the bathroom. It looks like Revelations. The toilet is overflowing, brown shit water is spilling out all over the bathroom floor, and the tank is making demonic gurgling noises. THE MOTHERFUCKER CLOGGED UP A HOTEL TOILET! Hotel toilets are industrial size; they are designed to be able to accommodate repeated elephant-sized shits, and their ram-jet engine flushes generate enough force to suck down a human infant, yet skinny ass 170-pound SlingBlade completely killed ours.
Tucker Max
I’ve got to admire the Aokis of this world. Their ability to lay low until the right moment, their knack for latching on to opportunities, their skill in fucking with people’s minds—that’s no ordinary talent. I hate their kind so much it makes me want to puke, but it is a talent. “No, what really scares me is how easily, how uncritically, people will believe the crap that slime like Aoki deal out. How these Aoki types produce nothing themselves, don’t have an idea in the world, and talk so nice, how this slime can sway gullible types to any opinion and get them to perform on cue, as a group. And this group never entertains even a sliver of doubt that they could be wrong. They think nothing of hurting someone, senselessly, permanently. They don’t take any responsibility for their actions. Them. They’re the real monsters. They’re the ones I have nightmares about. In those dreams, there’s only the silence. And these faceless people. Their silence seeps into everything like ice water. And then it all goes murky. And I’m dissolving and I’m screaming, but no one hears.
Haruki Murakami (The Elephant Vanishes)
PERCY WAS WAITING FOR THEM. He looked mad. He stood at the edge of the glacier, leaning on the staff with the golden eagle, gazing down at the wreckage he’d caused: several hundred acres of newly open water dotted with icebergs and flotsam from the ruined camp. The only remains on the glacier were the main gates, which listed sideways, and a tattered blue banner lying over a pile of snow-bricks. When they ran up to him, Percy said, “Hey,” like they were just meeting for lunch or something. “You’re alive!” Frank marveled. Percy frowned. “The fall? That was nothing. I fell twice that far from the St. Louis Arch.” “You did what?” Hazel asked. “Never mind. The important thing was I didn’t drown.” “So the prophecy was incomplete!” Hazel grinned. “It probably said something like: The son of Neptune will drown a whole bunch of ghosts.” Percy shrugged. He was still looking at Frank like he was miffed. “I got a bone to pick with you, Zhang. You can turn into an eagle? And a bear?” “And an elephant,” Hazel said proudly. “An elephant.” Percy shook his head in disbelief. “That’s your family gift? You can change shape?” Frank shuffled his feet. “Um…yeah. Periclymenus, my ancestor, the Argonaut—he could do that. He passed down the ability.” “And he got that gift from Poseidon,” Percy said. “That’s completely unfair. I can’t turn into animals.” Frank stared at him. “Unfair? You can breathe underwater and blow up glaciers and summon freaking hurricanes—and it’s unfair that I can be an elephant?” Percy considered. “Okay. I guess you got a point. But next time I say you’re totally beast—” “Just shut up,” Frank said. “Please.” Percy cracked a smile.
Rick Riordan (The Son of Neptune (The Heroes of Olympus, #2))
He no longer saw the face of his friend Siddhartha, instead he saw other faces, many, a long sequence, a flowing river of faces, of hundreds, of thousands, which all came and disappeared, and yet all seemed to be there simultaneously, which all constantly changed and renewed themselves, and which were still all Siddhartha. He saw the face of a fish, a carp, with an infinitely painfully opened mouth, the face of a dying fish, with fading eyes—he saw the face of a new-born child, red and full of wrinkles, distorted from crying—he saw the face of a murderer, he saw him plunging a knife into the body of another person—he saw, in the same second, this criminal in bondage, kneeling and his head being chopped off by the executioner with one blow of his sword—he saw the bodies of men and women, naked in positions and cramps of frenzied love—he saw corpses stretched out, motionless, cold, void— he saw the heads of animals, of boars, of crocodiles, of elephants, of bulls, of birds—he saw gods, saw Krishna, saw Agni—he saw all of these figures and faces in a thousand relationships with one another, each one helping the other, loving it, hating it, destroying it, giving re-birth to it, each one was a will to die, a passionately painful confession of transitoriness, and yet none of them died, each one only transformed, was always re-born, received evermore a new face, without any time having passed between the one and the other face—and all of these figures and faces rested, flowed, generated themselves, floated along and merged with each other, and they were all constantly covered by something thin, without individuality of its own, but yet existing, like a thin glass or ice, like a transparent skin, a shell or mold or mask of water, and this mask was smiling, and this mask was Siddhartha's smiling face, which he, Govinda, in this very same moment touched with his lips. And, Govinda saw it like this, this smile of the mask, this smile of oneness above the flowing forms, this smile of simultaneousness above the thousand births and deaths, this smile of Siddhartha was precisely the same, was precisely of the same kind as the quiet, delicate, impenetrable, perhaps benevolent, perhaps mocking, wise, thousand-fold smile of Gotama, the Buddha, as he had seen it himself with great respect a hundred times. Like this, Govinda knew, the perfected ones are smiling.
Hermann Hesse
I am still vaguely haunted by our hitchhiker’s remark about how he’d “never rode in a convertible before.” Here’s this poor geek living in a world of convertibles zipping past him on the highways all the time, and he’s never even ridden in one. It made me feel like King Farouk. I was tempted to have my attorney pull into the next airport and arrange some kind of simple, common-law contract whereby we could just give the car to this unfortunate bastard. Just say: “Here, sign this and the car’s yours.” Give him the keys and then use the credit card to zap off on a jet to some place like Miami and rent another huge fireapple-red convertible for a drug-addled, top-speed run across the water all the way out to the last stop in Key West … and then trade the car off for a boat. Keep moving. But this manic notion passed quickly. There was no point in getting this harmless kid locked up—and, besides, I had plans for this car. I was looking forward to flashing around Las Vegas in the bugger. Maybe do a bit of serious drag-racing on the Strip: Pull up to that big stoplight in front of the Flamingo and start screaming at the traffic: “Alright, you chickenshit wimps! You pansies! When this goddamn light flips green, I’m gonna stomp down on this thing and blow every one of you gutless punks off the road!” Right. Challenge the bastards on their own turf. Come screeching up to the crosswalk, bucking and skidding with a bottle of rum in one hand and jamming the horn to drown out the music … glazed eyes insanely dilated behind tiny black, gold-rimmed greaser shades, screaming gibberish … a genuinely dangerous drunk, reeking of ether and terminal psychosis. Revving the engine up to a terrible high-pitched chattering whine, waiting for the light to change … How often does a chance like that come around? To jangle the bastards right down to the core of their spleens. Old elephants limp off to the hills to die; old Americans go out to the highway and drive themselves to death with huge cars.
Hunter S. Thompson (Fear and Loathing in Las Vegas)
These ideas can be made more concrete with a parable, which I borrow from John Fowles’s wonderful novel, The Magus. Conchis, the principle character in the novel, finds himself Mayor of his home town in Greece when the Nazi occupation begins. One day, three Communist partisans who recently killed some German soldiers are caught. The Nazi commandant gives Conchis, as Mayor, a choice — either Conchis will execute the three partisans himself to set an example of loyalty to the new regime, or the Nazis will execute every male in the town. Should Conchis act as a collaborator with the Nazis and take on himself the direct guilt of killing three men? Or should he refuse and, by default, be responsible for the killing of over 300 men? I often use this moral riddle to determine the degree to which people are hypnotized by Ideology. The totally hypnotized, of course, have an answer at once; they know beyond doubt what is correct, because they have memorized the Rule Book. It doesn’t matter whose Rule Book they rely on — Ayn Rand’s or Joan Baez’s or the Pope’s or Lenin’s or Elephant Doody Comix — the hypnosis is indicated by lack of pause for thought, feeling and evaluation. The response is immediate because it is because mechanical. Those who are not totally hypnotized—those who have some awareness of concrete events of sensory space-time, outside their heads— find the problem terrible and terrifying and admit they don’t know any 'correct' answer. I don’t know the 'correct' answer either, and I doubt that there is one. The universe may not contain 'right' and 'wrong' answers to everything just because Ideologists want to have 'right' and 'wrong' answers in all cases, anymore than it provides hot and cold running water before humans start tinkering with it. I feel sure that, for those awakened from hypnosis, every hour of every day presents choices that are just as puzzling (although fortunately not as monstrous) as this parable. That is why it appears a terrible burden to be aware of who you are, where you are, and what is going on around you, and why most people would prefer to retreat into Ideology, abstraction, myth and self-hypnosis. To come out of our heads, then, also means to come to our senses, literally—to live with awareness of the bottle of beer on the table and the bleeding body in the street. Without polemic intent, I think this involves waking from hypnosis in a very literal sense. Only one individual can do it at a time, and nobody else can do it for you. You have to do it all alone.
Robert Anton Wilson (Natural Law: or Don't Put a Rubber on Your Willy)