Weed Tray Quotes

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That's the trouble with your generation,' said Grandpa. 'Bill, I'm ashamed of you, you a newspaperman. All the things in life that were put here to savor, you eliminate. Save time, save work, you say.' He nudged the grass trays disrespectfully. 'Bill, when your'e my age, you'll find out it's the little savors and little things that count more than big ones. A walk on a spring morning is better than an eighty-mile ride in a hopped-up car, you know why? Because it's full of flavors, full of a lot of things growing. You've time to seek and find. I know--you're after the broad effect now, and I suppose that's fit and proper. But for a young man working on a newspaper, you got to look for grapes as well as watermelons. You greatly admire skeletons and I like fingerprints; well and good. Right now such things are bothersome to you, and I wonder if it isn't because you've never learned to use them. If you had your way you'd pass a law to abolish all the little jobs, the little things. But then you'd leave yourselves nothing to do between the big jobs and you'd have a devil of a time thinking up things to do so you wouldn't go crazy. Instead of that, why not let nature show you a few things? Cutting grass and pulling weeds can be a way of life, son.
Ray Bradbury (Dandelion Wine)
Merriem goes to the kitchen and quickly returns with a wooden tray piled high with thickly sliced bread and brightly patterned dishes of olive oil and dark vinegar. The bread is vivid yellow. It crumbles in my mouth and tastes sweet, honeyed. "Dandelions," Merriem says to me. Papa is staring at his half-eaten piece. "I thought dandelion was a weed?" "It is," Merriem replies with a grin. "Isn't it marvelous?" "Yes, it's very nice," Papa says, still looking a little puzzled. "Dad and I call it sunshine bread, eh, Dad?" Huia says.
Hannah Tunnicliffe (Season of Salt and Honey)
running to and fro with trays of refreshments. Odo, who knew that his mother lived in the Duke's palace, had vaguely imagined that his father's death must have plunged its huge precincts into silence and mourning; but as he followed the abate up successive flights of stairs and down long corridors full of shadow he heard a sound of dance music below and caught the flash of girandoles through the antechamber doors. The thought that his father's death had made no difference to any one in the palace was to the child so much more astonishing than any of the other impressions crowding his brain, that these were scarcely felt, and he passed as in a dream through rooms where servants were quarrelling over cards and waiting-women rummaged in wardrobes full of perfumed finery, to a bedchamber in which a lady dressed in weeds sat disconsolately at supper. "Mamma! Mamma!" he cried, springing
Edith Wharton (Edith Wharton: Collection of 115 Works with analysis and historical background (Annotated and Illustrated) (Annotated Classics))
Dannon was there, thirty feet away, pinned by the dazzling light like a frog on a tenth-grader’s dissection tray. Unlike those frogs . . . Jenkins shouted, “Freeze, freeze or we’ll shoot.” . . . Unlike those frogs, Dannon leaped sideways back into the swamp reeds and then, scrambling on his hands and knees, still clinging to his pistol, began running mindlessly through the brush. The cops all turned on their lights and played them through the brush, and caught flashes of Dannon, the movement of the swamp weeds and brush as he tore through them, and Lucas shouted, “Jenkins, Shrake, Del, go after him, take care, take care . . .” Lucas turned and in the light of his own flash, ran back up the dirt track toward the gravel road, pulled his handset and said, “Sarah, Jane, he’s coming right at you. Watch out, watch out, he’s on foot, I think he’s coming for the road. . . .” •   •   • NOTHING AT ALL WENT through Dannon’s head. He’d had some escape and evasion classes, and one of the basics was simply to put distance between yourself and your pursuer. Distance was always good; distance gave you options. He didn’t think about it, though, he just ran, fast and as hard as he could, and he was in good shape. Good shape or not, he fell three or four times—he wasn’t counting—and the small shrub and grasses tore at him and tried to catch his feet; he went knee-deep into a watery hole, pulled free, and ran on, looking back once. He was out of the light, now, he was gaining on them, he was almost there . . . And he broke free into the road. He couldn’t see it, except as a kind of dark channel in front of him. The lights were now a hundred yards back, but still coming, and he ran down the dark channel. When he got far enough out front, he’d cut across country again, and then maybe turn down toward the river. . . . He ran a hundred yards down the channel, heedless of the sounds of his footfalls, breathing hard. . . . •   •   • LUCAS WAS ON THE ROAD, moving faster than Dannon, but at the wrong angle—Dannon, though in the swamp, was cutting diagonally across the right angle of the gravel road and the dirt track. Lucas could tell more or less where he was because of the brilliant lights of the cops behind him, and the sound of Dannon’s thrashing in the brush. Then the thrashing stopped, and Lucas stopped, trying to figure out where he’d gone.
John Sandford (Silken Prey (Lucas Davenport #23))
And though I've set the table, cooked a meal, tidied your house, you eat it lukewarm on a tray on your knee in the front room with the big light on like we're the local takeaway, and pay attention to the telly like it's a vital organ.
Lisa Blower (Pond Weed)