Weed Coffee Quotes

We've searched our database for all the quotes and captions related to Weed Coffee. Here they are! All 15 of them:

The place smelled like Sam -- or, I guess, he smelled like the store. Like ink and old building and something more leafy than coffee but less interesting than weed. It was all very ... erudite. I felt surrounded by conversations I had no interest in participating in.
Maggie Stiefvater (Forever (The Wolves of Mercy Falls, #3))
Why was it that suicide kept rising up in Francis' mind? Wake up in the weeds outside Pittsburgh, half frozen over, too cold to move, flaked out 'n' stiffer than a chunk of old iron, and you say to yourself: Francis, you don't ever want to put in another night, another mornin', like this one was. Time to go take a header off the bridge. But after a while you stand up, wipe the frost out of your ear, go someplace to get warm, bum a nickel for coffee, and then start walkin' toward somewheres else that ain't near no bridge.
William Kennedy (Ironweed)
We entered the cool cave of the practice space with all the long-haired, goateed boys stoned on clouds of pot and playing with power tools. I tossed my fluffy coat into the hollow of my bass drum and lay on the carpet with my worn newspaper. A shirtless boy came in and told us he had to cut the power for a minute, and I thought about being along in the cool black room with Joey. Let's go smoke, she said, and I grabbed the cigarettes off the amp. She started talking to me about Wonder Woman. I feel like something big is happening, but I don't know what to do about it. With The Straight Girl? I asked in the blankest voice possible. With everything. Back in the sun we walked to the edge of the parking lot where a black Impala convertible sat, rusted and rotting, looking like it just got dredged from a swamp. Rainwater pooling on the floor. We climbed up onto it and sat our butts backward on the edge of the windshield, feet stretched into the front seat. Before she even joined the band, I would think of her each time I passed the car, the little round medallions with the red and black racing flags affixed to the dash. On the rusting Chevy, Joey told me about her date the other night with a girl she used to like who she maybe liked again. How her heart was shut off and it felt pretty good. How she just wanted to play around with this girl and that girl and this girl and I smoked my cigarette and went Uh-Huh. The sun made me feel like a restless country girl even though I'd never been on a farm. I knew what I stood for, even if nobody else did. I knew the piece of me on the inside, truer than all the rest, that never comes out. Doesn't everyone have one? Some kind of grand inner princess waiting to toss her hair down, forever waiting at the tower window. Some jungle animal so noble and fierce you had to crawl on your belly through dangerous grasses to get a glimpse. I gave Joey my cigarette so I could unlace the ratty green laces of my boots, pull them off, tug the linty wool tights off my legs. I stretched them pale over the car, the hair springing like weeds and my big toenail looking cracked and ugly. I knew exactly who I was when the sun came back and the air turned warm. Joey climbed over the hood of the car, dusty black, and said Let's lie down, I love lying in the sun, but there wasn't any sun there. We moved across the street onto the shining white sidewalk and she stretched out, eyes closed. I smoked my cigarette, tossed it into the gutter and lay down beside her. She said she was sick of all the people who thought she felt too much, who wanted her to be calm and contained. Who? I asked. All the flowers, the superheroes. I thought about how she had kissed me the other night, quick and hard, before taking off on a date in her leather chaps, hankies flying, and I sat on the couch and cried at everything she didn't know about how much I liked her, and someone put an arm around me and said, You're feeling things, that's good. Yeah, I said to Joey on the sidewalk, I Feel Like I Could Calm Down Some. Awww, you're perfect. She flipped her hand over and touched my head. Listen, we're barely here at all, I wanted to tell her, rolling over, looking into her face, we're barely here at all and everything goes so fast can't you just kiss me? My eyes were shut and the cars sounded close when they passed. The sun was weak but it baked the grime on my skin and made it smell delicious. A little kid smell. We sat up to pop some candy into our mouths, and then Joey lay her head on my lap, spent from sugar and coffee. Her arm curled back around me and my fingers fell into her slippery hair. On the February sidewalk that felt like spring.
Michelle Tea
I’m not sure how the ponies happened, though I have an inkling: “Can I get you anything?” I’ll say, getting up from a dinner table, “Coffee, tea, a pony?” People rarely laugh at this, especially if they’ve heard it before. “This party’s ‘sposed to be fun,” a friend will say. “Really? Will there be pony rides?” It’s a nervous tic and a cheap joke, cheapened further by the frequency with which I use it. For that same reason, it’s hard to weed it out of my speech – most of the time I don’t even realize I’m saying it. There are little elements in a person’s life, minor fibers that become unintentionally tangled with your personality. Sometimes it’s a patent phrase, sometimes it’s a perfume, sometimes it’s a wristwatch. For me, it is the constant referencing of ponies. I don’t even like ponies. If I made one of my throwaway equine requests and someone produced an actual pony, Juan-Valdez-style, I would run very fast in the other direction. During a few summers at camp, I rode a chronically dehydrated pony named Brandy who would jolt down without notice to lick the grass outside the corral and I would careen forward, my helmet tipping to cover my eyes. I do, however, like ponies on the abstract. Who doesn’t? It’s like those movies with the animated insects. Sure, the baby cockroach seems cute with CGI eyelashes, but how would you feel about fifty of her real-life counterparts living in your oven? And that’s precisely the manner in which the ponies clomped their way into my regular speech: abstractly. “I have something for you,” a guy will say on our first date. “Is it a pony?” No. It’s usually a movie ticket or his cell phone number. But on our second date, if I ask again, I’m pretty sure I’m getting a pony. And thus the Pony drawer came to be. It’s uncomfortable to admit, but almost every guy I have ever dated has unwittingly made a contribution to the stable. The retro pony from the ‘50s was from the most thoughtful guy I have ever known. The one with the glitter horseshoes was from a boy who would later turn out to be straight somehow, not gay. The one with the rainbow haunches was from a librarian, whom I broke up with because I felt the chemistry just wasn’t right, and the one with the price tag stuck on the back was given to me by a narcissist who was so impressed with his gift he forgot to remover the sticker. Each one of them marks the beginning of a new relationship. I don’t mean to hint. It’s not a hint, actually, it’s a flat out demand: I. Want. A. Pony. I think what happens is that young relationships are eager to build up a romantic repertoire of private jokes, especially in the city where there’s not always a great “how we met” story behind every great love affair. People meet at bars, through mutual friends, on dating sites, or because they work in the same industry. Just once a coworker of mine, asked me out between two stops on the N train. We were holding the same pole and he said, “I know this sounds completely insane, bean sprout, but would you like to go to a very public place with me and have a drink or something...?” I looked into his seemingly non-psycho-killing, rent-paying, Sunday Times-subscribing eyes and said, “Sure, why the hell not?” He never bought me a pony. But he didn’t have to, if you know what I mean.
Sloane Crosley (I Was Told There'd Be Cake: Essays)
Dutiful How did I get so dutiful? Was I always that way? Going around as a child with a small broom and dustpan, sweeping up dirt I didn't make, or out into the yard with a stunted rake,, weeding the gardens of others -the dirt blew back, the weeds flourished, despite my efforts- and all the while with a frown of disapproval for other people's fecklessness, and my own slavery. I didn't perform these duties willingly. I wanted to be on the river, or dancing, but something had me by the back of the neck. That's me too, years later, a purple-eyed wreck, because whatever had to be finished wasn't, and I stayed late, grumpy as a snake, on too much coffee, and further on still, those groups composed of mutterings and scoldings, and the set-piece exhortation: somebody ought to do something! That was my hand shooting up. But I've resigned. I've ditched the grip of my echo. I've decided to wear sunglasses, and a necklace adorned with the gold word NO, and eat flowers I didn't grow. Still, why do I feel so responsible for the wailing from shattered houses, for birth defects and unjust wars, and the soft, unbearable sadness filtering down from distant stars?
Margaret Atwood (The Door)
In downtown Mexico City thousands of hipsters in floppy straw hats and long-lapeled jackets over bare chests padded along the main drag, some of them selling crucifixes and weed in the alleys, some of them kneeling in beat chapels next to Mexican burlesque shows in sheds. Some alleys were rubble, with open sewers, and little doors led to closet-size bars stuck in adobe walls. You had to jump over a ditch to get your drink, and in the bottom of the ditch was the ancient lake of the Aztec. You came out of the bar with your back to the wall and edged back to the street. They served coffee mixed with rum and nutmeg. Mambo blared from everywhere.
Jack Kerouac (On the Road)
When You're Not Here and When You Are" Waking early, alone, I crave the ripening hay in your field, the smell of weeds tangled in brine, and along the inland road, honeysuckle, sharp as juice sucked from raw crabs by the cove. Oh, the fine wet inside of your flowers in your field after rain. The acrostic of sifting earth with moist fingers, separating essence from essence, a pebble rolling in soil. I could lie around all day wanting the brush of your lips. Between your lips, the dark field meets a night sky. I am inside each ragged breath and the pause between. Your legs— a bridge to the twilight where, overhead, stars pulse. On such cold nights you take me as if I were spice in your coffee, stir me, your beautiful strong arms, your unbearable aching. I rely on the warmth of your voice to illuminate the dark. Like a forest that parts and cinches a road. A clasp undone. The cat purrs. A rustling as the leaves stir. In the yielding light, a pale sky warms. There. The grassy rise is splashed with rain.
Carole Glasser Langille (Late in a Slow Time)
Mom,” Vaughn said. “I’m sure Sidney doesn’t want to be interrogated about her personal life.” Deep down, Sidney knew that Vaughn—who’d obviously deduced that she’d been burned in the past—was only trying to be polite. But that was the problem, she didn’t want him to be polite, as if she needed to be shielded from such questions. That wasn’t any better than the damn “Poor Sidney” head-tilt. “It’s okay, I don’t mind answering.” She turned to Kathleen. “I was seeing someone in New York, but that relationship ended shortly before I moved to Chicago.” “So now that you’re single again, what kind of man are you looking for? Vaughn?” Kathleen pointed. “Could you pass the creamer?” He did so, then turned to look once again at Sidney. His lips curved at the corners, the barest hint of a smile. He was daring her, she knew, waiting for her to back away from his mother’s questions. She never had been very good at resisting his dares. “Actually, I have a list of things I’m looking for.” Sidney took a sip of her coffee. Vaughn raised an eyebrow. “You have a list?” “Yep.” “Of course you do.” Isabelle looked over, surprised. “You never told me about this.” “What kind of list?” Kathleen asked interestedly. “It’s a test, really,” Sidney said. “A list of characteristics that indicate whether a man is ready for a serious relationship. It helps weed out the commitment-phobic guys, the womanizers, and any other bad apples, so a woman can focus on the candidates with more long-term potential.” Vaughn rolled his eyes. “And now I’ve heard it all.” “Where did you find this list?” Simon asked. “Is this something all women know about?” “Why? Worried you won’t pass muster?” Isabelle winked at him. “I did some research,” Sidney said. “Pulled it together after reading several articles online.” “Lists, tests, research, online dating, speed dating—I can’t keep up with all these things you kids are doing,” Adam said, from the head of the table. “Whatever happened to the days when you’d see a girl at a restaurant or a coffee shop and just walk over and say hello?” Vaughn turned to Sidney, his smile devilish. “Yes, whatever happened to those days, Sidney?” She threw him a look. Don’t be cute. “You know what they say—it’s a jungle out there. Nowadays a woman has to make quick decisions about whether a man is up to par.” She shook her head mock reluctantly. “Sadly, some guys just won’t make the cut.” “But all it takes is one,” Isabelle said, with a loving smile at her fiancé. Simon slid his hand across the table, covering hers affectionately. “The right one.” Until he nails his personal trainer. Sidney took another sip of her coffee, holding back the cynical comment. She didn’t want to spoil Isabelle and Simon’s idyllic all-you-need-is-love glow. Vaughn cocked his head, looking at the happy couple. “Aw, aren’t you two just so . . . cheesy.” Kathleen shushed him. “Don’t tease your brother.” “What? Any moment, I’m expecting birds and little woodland animals to come in here and start singing songs about true love, they’re so adorable.” Sidney laughed out loud. Quickly, she bit her lip to cover.
Julie James (It Happened One Wedding (FBI/US Attorney, #5))
The New Dog I. “I’m intensely afraid of almost everything. Grocery bags, potted poinsettias, bunches of uprooted weeds wilting on a hot sidewalk, clothes hangers, deflated rubber balls, being looked in the eye, crutches, an overcoat tossed across the back of a chair (everybody knows empty overcoats house ghosts), children, doorways, music, human hands and the newspaper rustling as my owner, in striped pajamas, drinks coffee and turns its pages. He wants to find out where there’ll be war in the mid-east this week. Afraid even of eating, if someone burps or clinks a glass with a fork, or if my owner turns the kitchen faucet on to wash his hands during my meal I go rigid with fear, my legs buckle, then I slink from the room. I pee copiously if my food bowl is placed on the floor before the other dogs’. I have to be served last or the natural order of things - in which every moment I am about to be sacrificed - (have my heart ripped from my chest by the priest wielding his stone knife or get run out of the pack by snarling, snapping alphas) - the most sacred hierarchy, that fated arrangement, the glue of the universe, will unstick. The evolution will never itself, and life as we know it will subside entirely, until only the simplest animal form remain - jellyfish headless globs of cells, with only microscopic whips for legs and tails. Great swirling arms of gas will arm wrestle for eons to win cosmic dominance. Starless, undifferentiated chaos will reign. II. I alone of little escaped a hell of beating, neglect, and snuffling dumpsters for sustenance before this gullible man adopted me. Now my new owner would like me to walk nicely by his side on a leash (without cowering or pulling) and to lie down on a towel when he asks, regardless of whether he has a piece of bologna in his pocket or not. I’m growing fond of that optimistic young man in spite of myself. If only he would heed my warnings I’d pour out my thoughts to him: When panic strikes you like a squall wind and disaster falls on you like a gale, when you are hunted and scorned, wisdom shouts aloud in the streets: What is consciousness? What is sensation? What is mind? What is pain? What about the sorrows of unwatered houseplants? What indoor cloudburst will slake their thirst? What of my littler brothers and sisters, dead at the hands of dirty two legged brutes? Who’s the ghost in the universe behind its existence, necessary to everything that happens? Is it the pajama-clad man offering a strip of bacon in his frightening hand (who’ll take me to the park to play ball if he ever gets dressed)? Is it his quiet, wet-eyed, egg-frying wife? Dear Lord, Is it me?
Amy Gerstler (Ghost Girl)
I know what he sees and probably what he thinks. Big black dude, arms splashed with tats, “First Weed. Then Coffee” T-shirt. He’s probably ready to piss himself. He’s like the Diary of a Wimpy Kid all grown up but still wimpy. I could squash him with my eyelashes.
Kennedy Ryan (Flow (Grip, #0.5))
Carson wakes up every day around noon, brushes her teeth, then pours Kahlua into her coffee or drinks a screwdriver. For lunch, she smokes some weed or eats a magic cookie. Before work, she drinks three shots of espresso and snorts some cocaine. Sometimes that’s too much, she can feel her heartbeat in her throat and her temples and her ass cheeks, so she tempers the high with a Valium. Some days—most days—she hits productive equilibrium. She comes to work and knocks down the crowd like she’s John Dillinger with a machine gun. During work, there’s more espresso and a bump or two in the ladies’ room. After work, the serious drinking begins—a couple of cocktails first, shots, then beer. Then weed and an Ativan or a Valium to fall asleep.
Elin Hilderbrand (Golden Girl)
overloaded horses bent backwards by the chisel of the mason who once sculpted an eternal now on the brow of the wingless archangel, time-deformed cherubim and the false protests, overweight bowels fallen from the barracks of the pink house carved with grey rain unfallen, never creaking, never opening door, with the mouth wide, darkened and extinguished like a burning boat floating in a voiceless sea, bottle of rum down threadbare socks, singing from pavement to pavement, bright iridescent flame, "Oh, my Annie, my heart is sore!", slept chin on the curb of the last star, the lintel illuminated the forgotten light cast to a different plane, ah the wick of a celestial candle. The piling up of pigeons, tram lines, the pickpocket boys, the melancholy silver, an ode to Plotinus, the rattle of cattle, the goat in the woods, and the retreat night in the railroad houses, the ghosts of terraces, the wine shakes, the broken pencils, the drunk and wet rags, the eucalyptus and the sky. Impossible eyes, wide avenues, shirt sleeves, time receded, 'now close your eyes, this will not hurt a bit', the rose within the rose, dreaming pale under sheets such brilliance, highlighting unreality of a night that never comes. Toothless Cantineros stomp sad lullabies with sad old boots, turning from star to star, following the trail of the line, from dust, to dust, back to dust, out late, wrapped in a white blanket, top of the world, laughs upturned, belly rumbling by the butchers door, kissing the idol, tracing the balconies, long strings of flowers in the shape of a heart, love rolls and folds, from the Window to Window, afflicting seriousness from one too big and ever-charged soul, consolidating everything to nothing, of a song unsung, the sun soundlessly rising, reducing the majesty of heroic hearts and observing the sad night with watery eyes, everything present, abounding, horses frolic on the high hazy hills, a ships sails into the mist, a baby weeps for mother, windows open, lights behind curtains, the supple avenue swoons in the blissful banality, bells ringing for all yet to come forgotten, of bursting beauty bathing in every bright eternal now, counteract the charge, a last turn, what will it be, flowers by the gate, shoe less in the park, burn a hole in the missionary door, by the moonlit table, reading the decree of the Rose to the Resistance, holding the parchment, once a green tree, sticking out of the recital and the solitaire, unbuttoning her coat sitting for a portrait, uncorking a bottle, her eyes like lead, her loose blouse and petticoat, drying out briefs by the stone belfry and her hair in a photo long ago when, black as a night, a muddy river past the weeds, carrying the leaves, her coffee stained photo blowing down the street. Train by train, all goes slow, mist its the morning of lights, it is the day of the Bull, the fiesta of magic, the castanets never stop, the sound between the ringing of the bells, the long and muted silence of the distant sea, gypsy hands full of rosemary, every sweet, deep blue buckets for eyes, dawn comes, the Brahmanic splendour, sunlit gilt crown capped by clouds, brazen, illuminated, bright be dawn, golden avenues, its top to bottom, green to gold, but the sky and the plaza, blood red like the great bleeding out Bull, and if your quiet enough, you can hear the heart weeping.
Samuel J Dixey (The Blooming Yard)
At first glance, The Town seemed like every other. Its suburban landscape, however, had become infected. Below sharpened blades of green grass that bent under the weight of heavy raindrops, worms wriggled and dug through damp soil, establishing intricate systems of rot; intertwining the roots of tall-standing trees and invading overgrown weeds, harboring all the people’s secrets, filling with blood and pulsating such as the empty womb of a woman overcome by a withering sickness. And unknown to the stranger who slept under a heavy blanket of ash and liquor, but this sickness had also nestled itself —as real and consuming as her organs—within the girl who wandered the streets of the Town. Flickering yellow lights shining through bounds of thick white locks, she could feel it inside her, sliding into her belly, residing alongside the trauma that coated her tongue like honey; sweet as ripe tangerines but bitter against the back of her throat like coffee grounds.
Kate Winborne (Blossom)
She poured a cup of coffee and slipped into Ada’s makeshift bedroom to grab the book she’d left on the couch. Her gaze focused on her goal, she tiptoed across the rug. With book in hand, she turned. The spine of the book cracked on the floor. The coffee cup broke into pieces, the air ripe with hazelnut. Trembling started in her knees and spread through her body. A static roar blocked out any other noise. The corners of Ada’s mouth tilted into a slight smile. Washed-out blue eyes stared at the ceiling. Darcy reached for Ada’s hand. The cool, waxy skin reeled her backward. She tripped over the book and landed half on the couch. She slid to a crouch on the floor and pulled the afghan over her knees. She dared another look. Ada lay still. Her mind pinged from memory to memory. Standing on a chair in the kitchen while Ada taught her the secret of fluffy biscuits. Cuddling next to Ada on the couch learning to read from Dr. Seuss books. Ada in old, rolled-up overalls and a floppy straw hat weeding the garden. The way Ada smelled like books and Pond’s cold cream. Ada’s laugh when Darcy had regaled her with made-up stories as a child. They’d run out of time to make new memories.
Laura Trentham (Slow and Steady Rush (Falcon Football, #1))
The next section is the journal I wrote while under the strict rules -- No casinos, No porn, no sex, no masturbation, no weed, no cigarettes, no cigars, no tobacco, no alcohol, no fast food, no greasy food, no artificial processed foods, no pop, no coffee, no chocolate, no refined sugar, no tv, no movies (only documentaries), and no video games. I also later added on no shopping, only two daily social media and email checks, and low amounts of music
Greg Kamphuis (A 40 Day Dopamine Fast)