Welding Sayings And Quotes

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Autobiography is not important. Authenticity is important. The writer must fire herself through the text, be the molten stuff that welds together disparate elements. I believe there is always exposure, vulnerability, in the writing process, which is not to say it is either confessional or memoir. Simply, it is real.
Jeanette Winterson (Weight: The Myth of Atlas and Heracles)
You know what I do? I listen to other people, stumbling about with their half thoughts and half sentences and their clumsy feelings that they can't express, and it hurts me. So I go home and burnish it and polish it and weld it to a rhythmic frame, make the dull colors gleam, mute the garish artificiality to pastels, so it doesn't hurt any more: that's my poem. I know what they want to say, and I say it for them.
Samuel R. Delany (Babel-17)
Pip, dear old chap. life is made of ever many partings welded together, as I may say, and one man's a blacksmith and one's a whitesmith, one's a goldsmith, and one's a coppersmith. Diwisions among such must come, and must be met as they come.
Charles Dickens (Great Expectations)
Tom Paine has almost no influence on present-day thinking in the United States because he is unknown to the average citizen. Perhaps I might say right here that this is a national loss and a deplorable lack of understanding concerning the man who first proposed and first wrote those impressive words, 'the United States of America.' But it is hardly strange. Paine's teachings have been debarred from schools everywhere and his views of life misrepresented until his memory is hidden in shadows, or he is looked upon as of unsound mind. We never had a sounder intelligence in this Republic. He was the equal of Washington in making American liberty possible. Where Washington performed Paine devised and wrote. The deeds of one in the Weld were matched by the deeds of the other with his pen. Washington himself appreciated Paine at his true worth. Franklin knew him for a great patriot and clear thinker. He was a friend and confidant of Jefferson, and the two must often have debated the academic and practical phases of liberty. I consider Paine our greatest political thinker. As we have not advanced, and perhaps never shall advance, beyond the Declaration and Constitution, so Paine has had no successors who extended his principles. Although the present generation knows little of Paine's writings, and although he has almost no influence upon contemporary thought, Americans of the future will justly appraise his work. I am certain of it. Truth is governed by natural laws and cannot be denied. Paine spoke truth with a peculiarly clear and forceful ring. Therefore time must balance the scales. The Declaration and the Constitution expressed in form Paine's theory of political rights. He worked in Philadelphia at the time that the first document was written, and occupied a position of intimate contact with the nation's leaders when they framed the Constitution. Certainly we may believe that Washington had a considerable voice in the Constitution. We know that Jefferson had much to do with the document. Franklin also had a hand and probably was responsible in even larger measure for the Declaration. But all of these men had communed with Paine. Their views were intimately understood and closely correlated. There is no doubt whatever that the two great documents of American liberty reflect the philosophy of Paine. ...Then Paine wrote 'Common Sense,' an anonymous tract which immediately stirred the fires of liberty. It flashed from hand to hand throughout the Colonies. One copy reached the New York Assembly, in session at Albany, and a night meeting was voted to answer this unknown writer with his clarion call to liberty. The Assembly met, but could find no suitable answer. Tom Paine had inscribed a document which never has been answered adversely, and never can be, so long as man esteems his priceless possession. In 'Common Sense' Paine flared forth with a document so powerful that the Revolution became inevitable. Washington recognized the difference, and in his calm way said that matters never could be the same again. It must be remembered that 'Common Sense' preceded the declaration and affirmed the very principles that went into the national doctrine of liberty. But that affirmation was made with more vigor, more of the fire of the patriot and was exactly suited to the hour... Certainly [the Revolution] could not be forestalled, once he had spoken. {The Philosophy of Paine, June 7, 1925}
Thomas A. Edison (Diary and Sundry Observations of Thomas Alva Edison)
Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Diwisions among such must come, and must be met as they come. If there’s been any fault at all to-day, it’s mine. You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It ain’t that I am proud, but that I want to be right, as you shall never see me no more in these clothes. I’m wrong in these clothes. I’m wrong out of the forge, the kitchen, or off th’ meshes. You won’t find half so much fault in me if you think me in forge dress, with my hammer in my hand, or even my pipe. You won’t find half so much fault in me if, supposing as you should ever wish to see me, you come and put your head in at the forge window and see Joe the blacksmith, there, at the old anvil, in the old burnt apron, sticking to the old work. I’m awful dull, but I hope I’ve beat out something nigh the rights of this at last. And so God bless you, dear old Pip, old chap, God bless you!
Charles Dickens (Great Expectations)
It was a morning of gruesome cold — minus 30 degrees Celsius (minus 22 degrees Fahrenheit) says Stern. Even the exact Biberstein says that it was at least minus 20 degrees (minus 4 degrees Fahrenheit). Poldek Pfefferberg was summoned from his bunk, fetched his welding gear, and went out to the snowy siding to cut open the doors iced hard as iron. He too heard the unearthly complaints from within. It is hard to describe what they saw when the doors were at last opened. In each car, a pyramid of frozen corpses, their limbs madly contorted, occupied the centre of the floor. The hundred or more still living stank awesomely, were seared black by the cold, were skeletal. Not one of them would be found to weigh more than 34 kilos.
Thomas Keneally (Schindler’s List)
Wonder Woman’ is gifted with tremendous physical strength—but unlike Superman she can be injured.” Marston went on, “ ‘Wonder Woman’ has bracelets welded on her wrists; with these she can repulse bullets. But if she lets any man weld chains on these bracelets, she loses her power. This, says Dr. Marston, is what happens to all women when they submit to a man’s domination.
Jill Lepore (The Secret History of Wonder Woman)
The guide invited the crowd to imagine that they were looking across a desert at a mountain range on a day that was twinkling bright and clear. They could look at a peak or a bird or cloud, at a stone right in front of them, or even down into a canyon behind them. But among them was this poor Earthling, and his head was encased in a steel sphere which he could never take off. There was only one eyehole through which he could look, and welded to that eyehole were six feet of pipe. "This was only the beginning of Billy's miseries in the metaphor. He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe. The far end of the pipe rested on a bi-pod which was also bolted to the flatcar. All Billy could see was the little dot at the end of the pipe. He didn't know he was on a flatcar, didn't even know there was anything peculiar about his situation. "The flatcar sometimes crept, sometimes went extremely fast, often stopped--went uphill, downhill, around curves, along straightaways. Whatever poor Billy saw through the pipe, he had no choice but to say to himself, 'That's life.
Kurt Vonnegut Jr. (Slaughterhouse-Five)
life is made of ever so many partings welded together, as I may say, and one man's a blacksmith, and one's a whitesmith, and one's a goldsmith, and one's a coppersmith.
Charles Dickens (Great Expectations)
Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man's a blacksmith, and one's a whitesmith, and one's a goldsmith, and one's a coppersmith.
Charles Dickens (Great Expectations)
Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man's a blacksmith, and one's a whitesmith, and one's a goldsmith, and one's a coppersmith. Diwisions
Charles Dickens (Great Expectations)
Now listen to me, Crumb. If I say I need to see the Tudor, no blacksmith’s boy will say me nay.” “He may weld you, my lord,” Richard Riche says.
Hilary Mantel (Bring Up the Bodies (Thomas Cromwell, #2))
I said no," Jimmy said. His voice quavered slightly under the blazing heat of her glare, but his words were as solid as a sealant weld. "Captain Smith says it's wrong." "And I say it's right," Kulasawa snapped. "Why listen to him instead of me?" "Because he's my boss." Jimmy looked at me. "And because I trust him." He turned back to Kulasawa. "And because he's never needed a gun to tell me what to do.
Timothy Zahn (Star Song and Other Stories)
You know what I do? I listen to other people, stumbling about with their half thoughts and half sentences and their clumsy feelings that they can’t express—and it hurts me. So I go home and burnish it and polish it and weld it to a rhythmic frame, make the dull colors gleam, mute the garish artificiality to pastels, so it doesn’t hurt anymore: that’s my poem. I know what they want to say, and I say it for them.
Samuel R. Delany (Babel-17)
The missing remained missing and the portraits couldn't change that. But when Akhmed slid the finished portrait across the desk and the family saw the shape of that beloved nose, the air would flee the room, replaced by the miracle of recognition as mother, father, sister, brother, aunt, and cousin found in that nose the son, brother, nephew, and cousin that had been, would have been, could have been, and they might race after the possibility like cartoon characters dashing off a cliff, held by the certainty of the road until they looked down -- and plummeted is the word used by the youngest brother who, at the age of sixteen, is tired of being the youngest and hopes his older brother will return for many reasons, not least so he will marry and have a child and the youngest brother will no longer be youngest; that youngest brother, the one who has nothing to say about the nose because he remembers his older brother's nose and doesn't need the nose to mean what his parents need it to mean, is the one who six months later would be disappeared in the back of a truck, as his older brother was, who would know the Landfill through his blindfold and gag by the rich scent of clay, as his older brother had known, whose fingers would be wound with the electrical wires that had welded to his older brother's bones, who would stand above a mass grave his brother had dug and would fall in it as his older brother had, though taking six more minutes and four more bullets to die, would be buried an arm's length of dirt above his brother and whose bones would find over time those of his older brother, and so, at that indeterminate point in the future, answer his mother's prayer that her boys find each other, wherever they go; that younger brother would have a smile on his face and the silliest thought in his skull a minute before the first bullet would break it, thinking of how that day six months earlier, when they all went to have his older brother's portrait made, he should have had his made, too, because now his parents would have to make another trip, and he hoped they would, hoped they would because even if he knew his older brother's nose, he hadn't been prepared to see it, and seeing that nose, there, on the page, the density of loss it engendered, the unbelievable ache of loving and not having surrounded him, strong enough to toss him, as his brother had, into the summer lake, but there was nothing but air, and he'd believed that plummet was as close as they would ever come again, and with the first gunshot one brother fell within arms' reach of the other, and with the fifth shot the blindfold dissolved and the light it blocked became forever, and on the kitchen wall of his parents' house his portrait hangs within arm's reach of his older brother's, and his mother spends whole afternoons staring at them, praying that they find each other, wherever they go.
Anthony Marra (A Constellation of Vital Phenomena)
O wind, songs have ye in her name? Plucked her did ye from midnight blasted millyard winds and made her renown ring in stone and brick and ice? Hard implacable bridges of iron cross her milk of brows? God bent from his steel arc welded her a hammer of honey and of balm? The rutted mud of hardrock Time . . . was it wetted, springified, greened, blossomied for me to grow in nameless bloodied lutey naming of her? Wood on cold trees would her coffin bare? Keys of stone rippled by icy streaks would ope my needy warm interiors and make her eat the soft sin of me? No iron bend or melt to make my rocky travail ease--I was all alone, my fate was banged behind an iron door, I'd come like butter looking for Hot Metals to love, I'd raise my feeble orgone bones and let them be rove and split the half and goop the big sad eyes to see it and say nothing. The laurel wreath is made of iron, and thorns of nails; acid spit, impossible mountains, and incomprehensible satires of blank humanity--congeal, cark, sink and seal my blood--
Jack Kerouac (Maggie Cassidy)
He looked like his father. That is to say he was a closely-welded, round youth, dark, like his father, with not a trace of Molly’s dash and vivacity. But unlike Richard, whose tenacious obstinacy was open, smouldering in his dark eyes and displayed in every impatient efficient movement, Tommy had a look of being buttoned in, a prisoner of his own nature. He
Doris Lessing (The Golden Notebook)
Nicolas sat very still just watching her. What he wanted to do was yank her back into the boat and weld their mouths together. Their bodies. He craved her like he would a drug. He made himself breath. In and out. He could read the desperation in her eyes, the fear. Not of him, for him. The tight coil in his belly began to relax. Not giving her time to argue or think, he simply caught her small wrists and lifted her into the boat. “We’re adults, remember? Now that we know it can happen, we’ll be more careful.” He managed a quick, teasing grin. “Until we don’t want to be careful.” Dahlia swallowed hard. She had courage, he had to give her that. Respect for her grew with every moment in her company. She didn’t back away from him, but held her ground. They were both standing up, and she had a long way to look up. “It could happen, Nicolas. You’ve never seen what pure energy can do, but I have. I generate heat when it happens and fires start. People get hurt.” “Have you ever made love to someone, Dahlia?” His voice was so low she had to strain to hear him. She felt the surge of darkness, of danger, something lethal and deadly emanating from him. “No, I’ve never wanted to get that close to anyone.” “Until now.” He wanted to hear her say it. At least give him that much. He needed that much. “Until now,” she agreed. Nicolas stepped away from her, sank back into position. “Thanks for not pushing me into the water. You must have thought about it.” “Don’t give me too much credit.” She made her way to the motor. “I wasn’t certain if I shoved, you’d fall.
Christine Feehan (Mind Game (GhostWalkers, #2))
Thus one should not underestimate ripeness as a factor facilitating discoveries which, as the saying goes, are 'in the air'-meaning, that the various components which will go into the new synthesis are all lying around and only waiting for the trigger-action of chance, or the catalysing action of an exceptional brain, to be assembled and welded together. If one opportunity is missed, another will occur.
Arthur Koestler (The Act of Creation)
It’s like that, isn’t it? Just as Raymond Chandler says, ‘The first kiss is dynamite, the second is routine and then you take her clothes off,’ It had been like that for Alan in his previous affairs, even the extended one he had had with Sybil while Naomi was pregnant. Sure, Alan went on enjoying sex with Sybil, but at a fundamental level his lust for her had died the very first time he felt the shock of her pubic bone against his, and knew that they were now truly welded into one another. Alan was a one-thrust man. Not that he’d ever been exactly promiscuous. Perhaps it would have been better for all concerned if he had been. Rather, his sentiment self-absorption had managed to gild each of these terminal thrusts with enough self-regarding burnish for him to sustain the ‘relationships’ that legitimised them for months; and in at least two instances, for years.
Will Self (Cock & Bull)
Musk talked to some of the workers—those actually doing the welding rather than the company’s executives—and asked what they thought was safe. “One of Elon’s rules is ‘Go as close to the source as possible for information,’ ” Riley says. The line workers said they thought the tank walls could get as thin as 4.8 millimeters. “What about four?” Musk asked. “That would make us pretty nervous,” one of the workers replied. “Okay,” Musk said, “let’s do four millimeters. Let’s give it a try.” It worked.
Walter Isaacson (Elon Musk)
Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Diwisions among such must come, and must be met as they come. If there's been any fault at all to-day, it's mine. You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It ain't that I am proud, but that I want to be right, as you shall never see me no more in these clothes. I'm wrong in these clothes. I'm wrong out of the forge, the kitchen, or off th'meshes. You won't find half so much fault in me if you think of me in my forge dress, with my hammer in my hand, or even my pipe. You won't find half so much fault in me if, supposing as you should ever with to see me, you come and put your head in at the forge winder and see Joe the blacksmith, there, at the old anvil, in the old burnt apron, sticking to the old work.
Charles Dickens (Great Expectations)
Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Diwisions among such must come, and must be met as they come. If there’s been any fault at all to-day, it’s mine. You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It ain’t that I am proud, but that I want to be right, as you
Charles Dickens (Great Expectations)
his head was encased in a steel sphere which he could never take off. There was only one eyehole through which he could look, and welded to that eyehole were six feet of pipe. This was only the beginning of Billy’s miseries in the metaphor. He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe. The far end of the pipe rested on a bi-pod which was also bolted to the flatcar. All Billy could see was the little dot at the end of the pipe. He didn’t know he was on a flatcar, didn’t even know there was anything peculiar about his situation. The flatcar sometimes crept, sometimes went extremely fast, often stopped—went uphill, downhill, around curves, along straightaways. Whatever poor Billy saw through the pipe, he had no choice but to say to himself, “That’s life.
Kurt Vonnegut Jr. (Slaughterhouse-Five)
he reflects that violent pleasure or pain or passion does not cause merely such evils as one might expect, such as one suffers when one has been [c] sick or extravagant through desire, but the greatest and most extreme evil, though one does not reflect on this. What is that, Socrates? asked Cebes. That the soul of every man, when it feels violent pleasure or pain in connection with some object, inevitably believes at the same time {122} that what causes such feelings must be very clear and very true, which it is not. Such objects are mostly visible, are they not? Certainly. [d] And doesn’t such an experience tie the soul to the body most completely? How so? Because every pleasure or pain provides, as it were, another nail to rivet the soul to the body and to weld them together. It makes the soul corporeal, so that it believes that truth is what the body says it is.
Plato (Plato: Five Dialogues: Euthyphro, Apology, Crito, Meno, Phaedo)
Put your glasses on mate ….. Come down from there, you’re gonna kill yourself …. Well, what does your Method Statement say? …. Right, let’s get you re-inducted. You need a reminder of site rules ….. Where are your outriggers, mate? ….. Put your glasses on ….. Put your glasses on …. Put your glasses on …. Oh, they steam up, do they? I’ve never heard that one before …. Where’s your mask? If you breathe this shit in you’re going to kill yourself. Silicosis is incurable ….. Right STOP! Do not reverse another inch without a banksman ….. Don’t put your glasses on just because you see me walk around the corner. They won’t protect MY eyes …. Hook yourself on, what’s the matter with you? Are all you scaffolders superhuman or something? ….. Put your glasses on ….. Oi! What stops me walking right in there? Where’s your barriers and signage? ….. Oi! I’m getting showered in fucking sparks here. And so is that can of petrol ….. Put your glasses on …. Where’s the flashback arrestor on this bottle of propane? ….. Hey, pal, stop welding until you’ve sheeted up ….. What are you doing climbing up there? Where’s your supervisor? What did he say about access in this morning’s Safe Start briefing? Nothing? Right, he can sit through another induction tomorrow ….. Where are the retaining pins to the joint clamps in this concrete pump line? SEAMUS! Fucking deal with this, will you? ….Put your glasses on …. Hey! Hey! Come here! Why have you got a nail instead of an ‘R’ clip to the quick-hitch system on your excavator bucket? NO! IT WON’T DO! WHAT THE FUCK IS WRONG WITH YOU? If that bucket falls on someone they’re not going to get up again. And you trust a fucking nail to hold it in position! Take this machine out of service immediately until you’ve got the proper ‘R’ clip! ….. Put your glasses on …. Where’s the edge protection. Who removed the edge protection? Right, let me phone for a scaffolder ….. Put your glasses on ….. Oi! Get out from under there! Never, ever stand underneath a suspended load. Even if all the equipment’s been inspected, which it obviously has, you can never trust the crane driver. He can be taken ill suddenly ….. Come here, mate, let’s have a little chat. Why are you working on Fall Arrest? You’re supposed to be working on Fall Restraint (FR ‘restrains’ you going near the perimeter edge of the building, FA ‘arrests’ your fall if, well, if you fall. If you’re hanging off a building we’ve got less than ten minutes to reach you before you start going into toxic shock brought on by suspension trauma. In other words, we need a Rescue Plan, which is why we’d prefer people work on Fall Restraint)
Karl Wiggins (Dogshit Saved My Life)
To that point, I remember when visiting my parents’ years later, I happened to catch an old episode of The French Chef. Because my interest in food had grown, I watched it with even more attentiveness than I had when I was young. But on this particular occasion, I was taken aback by my reaction when Mrs Child bid US her ubiquitous farewell, ‘This is Julia Child, bon appétit!’ My eyes suddenly welded up and I had to stop myself from crying: why was I suddenly experiencing a powerful rush of emotion because a black and white moving image of a chef was saying goodbye to me in French? After a few moments, I realised that I was moved by Mrs Child not only because she brought back happy boyhood memories of spending time with my mom but also because Julia herself was so genuinely happy to be doing what she was doing. I saw in that moment the embodiment of what I, and so many of us, aspire to. To spend your life doing what you love and doing it well. To achieve this is a rare thing, but for those who can, real joy is theirs, as is the ability to bring that joy to others through their chosen vacation.
Stanley Tucci (Taste: My Life Through Food)
I loved driving with Marlboro Man. I saw things I’d never seen before, things I’d never even considered in my two and a half decades of city life. For the first time ever, I began to grasp the concept of north, south, east, and west, though I imagine it would take another twenty-five years before I got them straight. I saw fence lines and gates made of welded iron pipe, and miles upon miles of barbed wire. I saw creeks--rocky, woodsy creeks that made the silly water hazard in my backyard seem like a little mud puddle. And I saw wide open land as far as the eye could see. I’d never known such beauty. Marlboro Man loved showing me everything, pointing at pastures and signs and draws and lakes and giving me the story behind everything we saw. The land, both on his family’s ranch and on the ranches surrounding it, made sense to him: he saw it not as one wide open, never-ending space, but as neatly organized parcels, each with its own purpose and history. “Betty Smith used to own this part of our ranch with her husband,” he’d say. “They never had kids and were best friends with my grandparents.” Then he’d tell some legend of Betty Smith’s husband’s grandfather, remembering such vivid details, you’d think he’d been there himself. I absorbed it all, every word of it. The land around him pulsated with the heartbeats of all who’d lived there before…and as if it were his duty to pay honor to each and every one of them, he told me their names, their stories, their relationship, their histories. I loved that he knew all those things.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
I truly don’t understand why at every Q and A, someone always asks, “Do you have a routine?” or “Do you write every morning?” Why those questions remain interesting, I really have no idea. But since no one’s putting a gun to their head to ask them, they must compel. They’re probably necessary on a symbolic level more than a literal one, as people cobble together an imagination of what a life devoted to “making” might be like. [I think people want a path to follow. They want a checklist so they can say, “Alright cool, so if I get up at six and I write for this long and I watch this film and I do that…”] It’s weird, because I might have wanted that, too. I used to dance in New York. My Lower East Side days. Modern dance, or whatever. One thing I learned as a dancer was that people learn combinations different ways. Some people, if they get the right side, they can also get the left side right off the top of their head. Some people need to be taught both right and left. Some people count, some people never count, you know? I noticed then that, for me, it was really watching the whole person dancing, trying to take in the whole combination at once, that helped me learn it. I think I’m the same way as a reader—I like to take in the whole book, not getting too specific about how they did it, but ride the bigger example. I mean, at the end of the day, the answer to the question “How did you do it?” is right there, on the page. They’re showing you how they did it, by doing it. Maybe it’s different with art, when you don’t know if someone had all their sculptures knitted or welded by elves somewhere, but with writing, the answer to the question “How do you write a book like this?” is usually, “Like this” [points to book].
Maggie Nelson
I shake my head, knowing that if it hadn’t been for me, Ben wouldn’t have been there in the first place. I try to tell him that, but he swats my words away with his hand and says he wants to show me something. “Sure,” I say, wondering if he’s really as nervous as he seems. He clenches his teeth and hesitates a couple of moments; the angles of his face seem to grow sharper. Finally, he motions to the pant leg of his jeans. There’s a tear right over his thigh. “I know you saw it in the hospital,” he says, exposing the chameleon tattoo through the torn fabric. “I felt you . . . looking at it. Anyway, I wanted you to know that I did this back home, before I ever came to Freetown. Before I ever met you.” “So it’s a coincidence?” His dark gray eyes swallow mine whole. “Do you honestly believe that?” “No,” I say, listening as he proceeds to tell me that a few months before he got to town, he touched his mother’s wedding band—something that reminded him of soul mates—and the image of a chameleon stuck inside his head. “I couldn’t get it out of my mind,” he explains. “It was almost like the image was welded to my brain, behind my eyes, haunting me even when I tried to sleep.” “And you got the tattoo because of that?” “Because I hoped its permanence might help me understand it more—might help me understand what it had to do with my own soul mate.” “And do you understand now?” I ask, swallowing hard. “Yeah.” He smiles. “I suppose I do.” I take a deep breath, trying to hold myself together, desperate to know what he’s truly trying to say here, and what I should say to him as well. I close my eyes, picturing that moment in the hospital when I held his hand and wondering if he would’ve recovered as quickly as if it hadn’t been for the connection between us—the electricity he must have sensed from my touch.
Laurie Faria Stolarz (Deadly Little Games (Touch, #3))
That means we don’t exist in one place. Instead, everything we do is left in … like a trail out there, a big ring of decisions. Every action we take—” “And mistake.” He nodded and dabbed at his forehead with his sleeve. “And every mistake. But every good thing we do as well. They are immortal, every single touch we leave behind. Even if nobody sees them or remembers them, that doesn’t matter. That trail will always be what happened, what we did, every choice. The past lives on forever. There’s no changing it.” “Makes you not want to fuck up,” Juliette said, thinking on all the times she had, wondering if this box between them was one more mistake. She saw images of herself in a great loop of space: fighting with her father, losing a lover, going out to clean, a great spiral of hurts like a journey down the stairs with a bleeding foot. And the stains would never wash out. That’s what Lukas was saying. She would always have hurt her father. Was that the way to phrase it? Always have had. It was immortal tense. A new rule of grammar. Always have had gotten friends killed. Always have had a brother die and a mother take her own life. Always have had taken that damn job as sheriff. There was no going back. Apologies weren’t welds; they were just an admission that something had been broken. Often between two people. “You okay?” Lukas asked. “Ready to go on?” But she knew he was asking more than if her arm was tired. He had this ability to spot her secret worries. He had a keen vision that allowed him to glimpse the smallest pinprick of hurt through heavy clouds. “I’m fine,” she lied. And she searched her past for some noble deed, for a bloodless tread, for any touch on the world that had left it a brighter place. But when she had been sent to clean, she had refused. Always have had refused. She had turned her back and walked off, and there was no chance of going back and doing it any other way. ••••
Hugh Howey (Dust (Silo, #3))
May I ask you a question? If you have to hold your breath too long, what is it that makes you desperate to breathe again?” “I’m running out of oxygen, I guess.” “That’s the interesting fact. It isn’t the absence of oxygen. It’s the presence of carbon dioxide. Kind of the same thing, but not exactly. The point is, you could suck up any kind of gas, and as long as it wasn’t carbon dioxide, your brain would be happy. You could have a chest full of nitrogen, no oxygen at all, about to kill you stone dead, and your lungs would say, hey man, we’re cool, no carbon dioxide here, no need for us to start pumping again until we see some. Which they never will, because you’ll never breathe again. Because you’ll never need to. Because you have no carbon dioxide. And so on. So those folks started sniffing nitrogen, but you have to go to the welding shop and the cylinders are too heavy to lift, so then they tried helium from the balloon store, but you needed masks and tubes, and the whole thing still looks weird, so in the end most folks won’t be satisfied with anything less than the old-fashioned bottle of pills and the glass of scotch. Exactly like it used to be. Except it can’t be anymore. Those pills were most likely either Nembutal or Seconal, and both of those substances are tightly controlled now. There’s no way to get them. Except illegally, of course, way down where no one can see you. There are sources. The holy grail. Most of the offers are scams, naturally. Powdered Nembutal from China, and so on. Dissolve in water or fruit juice. Maybe eight or nine hundred bucks for a lethal dose. Some poor desperate soul takes the cash to MoneyGram and sends it off, and then waits at home, anxious and tormented, and never sees any powdered Nembutal from China, because there never was any. The powder in the on-line photograph was talc, and the prescription bottle was for something else entirely. Which I felt was a new low, in the end. They’re preying on the last hopes of suicidal people.
Lee Child (Make Me (Jack Reacher, #20))
To someone who didn’t know yachts, they were simply huge golden metal hooks in the shape of an anchor, but I knew better. Every man who owned a yacht had a set of loose sea hooks, and whenever he was seeing someone he loved, someone he couldn’t live without, he was supposed to personalize them and weld them onto the ship’s real anchor. They were a symbol of longevity, a way of saying “I want to be with you.
Whitney G. (Mid-Life Love (Mid-Life Love, #1))
I drove to the bar Theodosha had called from and parked on the street. The bar was a gray, dismal place, ensconced like a broken matchbox under a dying oak tree, its only indication of gaiety a neon beer sign that flickered in one window. She was at a table in back, the glow of the jukebox lighting her face and the deep blackness of her hair. She tipped a collins glass to her mouth, her eyes locked on mine. “Let me take you home,” I said. “No, thanks,” she replied. “Getting swacked?” “Merchie and I had another fight. He says he can’t take my pretensions anymore. I love the word ‘pretensions.’” “That doesn’t mean you have to get drunk,” I said. “You’re right. I can get drunk for any reason I choose,” she replied, and took another hit from the glass. Then she added incongruously, “You once asked Merchie what he was doing in Afghanistan. The answer is he wasn’t in Afghanistan. He was in one of those other God-forsaken Stone Age countries to the north, helping build American airbases to protect American oil interests. Merchie says they’re going to make a fortune. All for the red, white, and blue.” “Who is they?” But her eyes were empty now, her concentration and anger temporarily spent. I glanced at the surroundings, the dour men sitting at the bar, a black woman sleeping with her head on a table, a parolee putting moves on a twenty-year-old junkie and mother of two children who was waiting for her connection. These were the people we cycled in and out of the system for decades, without beneficial influence or purpose of any kind that was detectable. “Let’s clear up one thing. Your old man came looking for trouble at the club today. I didn’t start it,” I said. “Go to a meeting, Dave. You’re a drag,” she said. “Give your guff to Merchie,” I said, and got up to leave. “I would. Except he’s probably banging his newest flop in the hay. And the saddest thing is I can’t blame him.” “I think I’m going to ease on out of this. Take care of yourself, kiddo,” I said. “Fuck that ‘kiddo’ stuff. I loved you and you were too stupid to know it.” I walked back outside into a misting rain and the clean smell of the night. I walked past a house where people were fighting behind the shades. I heard doors slamming, the sound of either a car backfiring or gunshots on another street, a siren wailing in the distance. On the corner I saw an expensive automobile pull to the curb and a black kid emerge from the darkness, wearing a skintight bandanna on his head. The driver of the car, a white man, exchanged money for something in the black kid’s hand. Welcome to the twenty-first century, I thought. I opened my truck door, then noticed the sag on the frame and glanced at the right rear tire. It was totally flat, the steel rim buried deep in the folds of collapsed rubber. I dropped the tailgate, pulled the jack and lug wrench out of the toolbox that was arc-welded to the bed of the truck, and fitted the jack under the frame. Just as I had pumped the flat tire clear of the puddle it rested in, I heard footsteps crunch on the gravel behind me. Out of the corner of my eye, I saw a short, thick billy club whip through the air. Just before it exploded across the side of my head, my eyes seemed to close like a camera lens on a haystack that smelled of damp-rot and unwashed hair and old shoes. I was sure as I slipped into unconsciousness that I was inside an ephemeral dream from which I would soon awake.
James Lee Burke (Last Car to Elysian Fields (Dave Robicheaux, #13))
Tom gazed down at the tiny forms of Londoners clambering over the new city, laying cables, welding girders, marking out the shapes of streets and buildings on the bare deckplates. “But it’s got no wheels,” Wren pointed out. “I can see you don’t know what Mag-Lev stands for, my dear,” said Dr. Childermass. “It’s a code name, isn’t it?” asked Tom, who didn’t know, either. “Oh no,” Dr. Childermass said. “Mag-Lev is just a shorter way of saying Magnetic Levitation.” “It floats!” said Wolf, gazing down at the new city entranced. “Like a gigantic hovercraft …
Philip Reeve (A Darkling Plain (The Hungry City Chronicles, #4))
Maybe tangled will be a spectacular rump. maybe i will adore it: it could happen. But one thing is for sure: tangled will not be rapunzel. And thats too bad , because rapunzel is an specially layered and relevant fairytale, less about the love between a man and a woman than the misguided attempts of a mother trying to protect her daughter from (what she perceives ) as the worlds evils. The tale, you may recall, begins with a mother-to-bes yearning for the taste of rapunzel, a salad green she spies growing in the garden of the sorceress who happens to live next door. The womans craving becomes so intense , she tells her husband that if he doesn't fetch her some, she and their unborn baby will die. So he steals into the baby's yard, wraps his hands around a plant, and, just as he pulls... she appears in a fury. The two eventually strike a bargain: the mans wife can have as much of the plant as she wants- if she turns over her baby to the witch upon its birth. `i will take care for it like a mother,` the sorceress croons (as if that makes it all right). Then again , who would you rather have as a mom: the woman who would do anything for you or the one who would swap you in a New York minute for a bowl of lettuce? Rapunzel grows up, her hair grows down, and when she is twelve-note that age-Old Mother Gothel , as she calls the witch. leads her into the woods, locking her in a high tower which offers no escape and no entry except by scaling the girls flowing tresses. One day, a prince passes by and , on overhearing Rapunzel singing, falls immediately in love (that makes Rapunzel the inverse of Ariel- she is loved sight unseen because of her voice) . He shinnies up her hair to say hello and , depending on the version you read, they have a chaste little chat or get busy conceiving twins. Either way, when their tryst is discovered, Old Mother Gothel cries, `you wicked child! i thought i had separated you from the world, and yet you deceived me!` There you have it : the Grimm`s warning to parents , centuries before psychologists would come along with their studies and measurements, against undue restriction . Interestingly the prince cant save Rapuzel from her foster mothers wrath. When he sees the witch at the top of the now-severed braids, he jumps back in surprise and is blinded by the bramble that breaks his fall. He wanders the countryside for an unspecified time, living on roots and berries, until he accidentally stumbles upon his love. She weeps into his sightless eyes, restoring his vision , and - voila!- they rescue each other . `Rapunzel` then, wins the prize for the most egalitarian romance, but that its not its only distinction: it is the only well-known tale in which the villain is neither maimed nor killed. No red-hot shoes are welded to the witch`s feet . Her eyes are not pecked out. Her limbs are not lashed to four horses who speed off in different directions. She is not burned at the stake. Why such leniency? perhaps because she is not, in the end, really evil- she simply loves too much. What mother has not, from time to time, felt the urge to protect her daughter by locking her in a tower? Who among us doesn't have a tiny bit of trouble letting our children go? if the hazel branch is the mother i aspire to be, then Old Mother Gothel is my cautionary tale: she reminds us that our role is not to keep the world at bay but to prepare our daughters so they can thrive within it. That involves staying close but not crowding them, standing firm in one`s values while remaining flexible. The path to womanhood is strewn with enchantment , but it also rifle with thickets and thorns and a big bad culture that threatens to consume them even as they consume it. The good news is the choices we make for our toodles can influence how they navigate it as teens. I`m not saying that we can, or will, do everything `right,` only that there is power-magic-in awareness.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
Sabina, too, was slipping out of the burning moment which had almost welded their differences. Her secret self, unveiled and naked in his arms, must be costumed once more, for what she felt in the silence were his withdrawal and silent accusations. Before he could speak and harm her with words while she lay naked and exposed, while he prepared a judgment, she was preparing her metamorphosis, so that whatever Sabina he struck down, she could abandon like a disguise, shedding the self he had seized upon and say, "that was not me." Any devastating words addressed to the Sabina he had possessed, the primitive one, could not reach her then. She was already half out of the forest of their desire, the core already far away, invulnerable, protected by flight. What remained was a costume. It was piled on the floor of his room and empty of her.
Anaïs Nin (A Spy in the House of Love (Cities of the Interior, #4))
Just to be clear, the man from the art department wasn’t boasting about publishing Hitler’s tome. He didn’t say, ‘We’ve got a brilliantly eclectic list here at Random House, Bridget, so you’re in good company. We’ve got Harper Lee, Katie Price, Hitler, you. So I thought, for the front cover, we could have you sitting on planet Venus, looking over at planet Mars with a sort of confused look on your face, like on all those other books by women now. We just need to let the readers know that this book is a funny, light-hearted look at feminism, and how you approach feminism and violations of human rights in your stand-up, Bridget. We need to reassure them it’s not going to be full of photographs of men being horrifically tortured and suffocated with their own cocks while loads of feminists stand around laughing, drinking yards of ale, welding metals and thermoplastics and playing darts with the donated embalmed penes of dead male feminists. Many of our readers won’t want to read a book like that. We are a commercial publishing house.
Bridget Christie (A Book for Her)
Eyeballing the broken welds on the headboard of the brass bed, she remarked, “Who do you think won the bet this time?” Because, after the first two bed mishaps, a betting pool started. “I won,” Leo purred as he flipped her onto her back. “You mean you wagered on us breaking the bed?” “Hell yeah I did. But I won more than that. I totally scored when it came to finding you.” “Don’t you mean I found you? I mean, after all, it was my Frisbee that smacked you in the head.” “A Frisbee I could have caught.” “You never saw—” He shook his head. She giggled. “Pookie, you sly devil, do you mean you purposely let yourself get smacked by it just to meet me? But if that’s the case, then why play hard to get?” “Because you scared me but that was before I realized you were exactly what I needed. I love you, Vex.” “Pookie!” she squealed as she plastered him with smooches. “I love you too, so much that I am totally going to forget about the fact that Reba and Zena have a ticket for me to go to Russia and rescue my sister.” “And miss out on a chance at a honeymoon? Did I forget to mention I’m going too? What do you say we go pay a tiger a visit?” “Aren’t you afraid I might start a war?” “I’d be more surprised if you didn’t. Now enough talking, Vex. It’s time for our morning nookie.” And while they couldn’t break the bed any further, the condo below them did complain about cracking plaster.
Eve Langlais (When an Omega Snaps (A Lion's Pride, #3))
Because every pleasure or pain provides, as it were, another nail to rivet the soul to the body and to weld them together. It makes the soul corporeal, so that it believes that truth is what the body says it is. As it shares the beliefs and delights of the body, I think it inevitably comes to share its ways and manner of life and is unable ever to reach Hades in a pure state; it is always full of body when it departs, so that it soon falls back into another body and grows with it as if it had been sewn e into it.
Anonymous
plate of cookies too." Will is bellowing from the living room. His butt has been welded to that chair for hours. I don't think he realizes that Karla is right next to the knife block. If he keeps this obnoxious behavior up she might be serving his head on a plate along with the turkey. I have to say, even with a house full of deadbeats, except for Karla, there really is a nice cozy, quaint and festive atmosphere in the house this afternoon. It's sunny outside and kind of chilly. It can snow here in Virginia right before or after Christmas Day, but very rarely on the 25th. We've got a tree with twinkling colorful lights while a glowing fireplace warms the room and laughter fills the air. As for the adorable English bulldog, I'm still steamed that I'm merely an afterthought, if even that. Give it a few hours and I'll give them a Christmas to remember.
Patrick Yearly (A Lonely Dog on Christmas)
freezer and put them on the counter." "Mom! How many vegetables are there? This freezer is jammed with stuff." "Eight. There are also six desserts I'll need you to get ready later on." "Have you lost your mind! Why so many?" "I sent out questionnaires this year and for once everyone responded in a timely fashion." "Hey Karla, how about another round of beers in here? We're getting thirsty. And another plate of cookies too." Will is bellowing from the living room. His butt has been welded to that chair for hours. I don't think he realizes that Karla is right next to the knife block. If he keeps this obnoxious behavior up she might be serving his head on a plate along with the turkey. I have to say, even with a house full of deadbeats, except for Karla, there really is a nice cozy, quaint and festive atmosphere in the house this afternoon. It's sunny outside and kind of chilly. It can snow here in Virginia right before or after Christmas Day, but very rarely on the 25th. We've got a tree with twinkling colorful lights while a glowing fireplace warms the room and laughter fills the air. As for the adorable English bulldog, I'm still steamed that I'm merely an afterthought, if even that. Give it a few hours and I'll
Patrick Yearly (A Lonely Dog on Christmas)
Once in power, Zayed was an energized man. One of his first acts in office was to throw open the palace strongbox, giving away all the money that his brother had stockpiled. Zayed made an incredible announcement: Anyone in the seven Trucial States who needed cash for any reason should come see him. People streamed in from every corner of every sheikhdom, traveling to Abu Dhabi by camel, by car, by dhow, and on foot. They lined up outside the leader’s palace, waiting for their turn to ask, and receive. Zayed kept up the handouts until he emptied the coffers. 13 The big giveaway sounds like a crazy idea, especially coming as it did before the UAE emerged as an in de pen dent nation, so that most of the recipients were, essentially, foreigners. But Zayed’s gifts weren’t mislaid. Local Arabs considered such over-the-top generosity as the behavior of their kind of leader. The upstarts in Dubai couldn’t match the gesture, nor could the has-beens in Sharjah. Zayed’s giveaway went a long way toward welding disparate sheikhdoms into a nation—and toward positioning Zayed as the paternal über-sheikh who should rule. Sheikh Zayed didn’t disappoint. Each year for the rest of his reign, he made a splashy tour around the emirates, visiting even the dust bowl towns of Ajman and Umm Al-Quwain. People yelled, “The president is coming! The president is coming!” and lined up to greet the great sheikh. He would ask what they needed. “Anything you want, tell me,” Zayed would say. His subjects asked for houses, overseas medical treatment, or the release of a jailed brother. Some handed requests scribbled onto sheets of paper, lest the great sheikh forget. Zayed’s handlers from the diwan, his royal court, compiled names, phone numbers, and requests. Over the next few weeks, the diwan would send officials knocking at each door with cash, whether 10,000 dirhams or 100,000 dirhams. 14 It was a fantastic nation-building tool. Not just the handouts of cash, but the in-person availability of the national ruler, who would respond like a kind father to personal needs. How could anyone speak against the union if it put cash in your hand? “We used to think he was too generous, that
Jim Krane (Dubai: The Story of the World's Fastest City)
As Henniger conducts a tour of his factory, he brims with pride. He points to the ventilation system that sucks air from fourteen welding tables through tuba-size funnels into a series of Willy Wonka pipes overhead. “Most welding shops are dirty,” he says. “Ours isn’t. I put in a whole system to pull out the dust so these guys have clean air to breathe.” He leans over and sweeps his index finger across the floor. It comes up spotless. Henniger smiles, and casts his gaze across a continent of polished concrete. “You can see it shining,” he says. “We have a Zamboni going around the floor all day.” One can only imagine what kind of Christmas morning moment must it be for a thirty-something guy to take delivery of his own Zamboni.
J.C. Herz (Learning to Breathe Fire: The Rise of CrossFit and the Primal Future of Fitness)
Each of the factory’s welding stations can make any piece of equipment Rogue manufactures. “We don’t have single-purpose machines where the guy pushes the green button,” Henniger brags. “There’s five hundred jobs you can put on these tables.” On the welding floor, no one works on one kind of job for more than half a day before switching to a batch of something different. If you don’t vary the task, he says, “you wear people out.
J.C. Herz (Learning to Breathe Fire: The Rise of CrossFit and the Primal Future of Fitness)
There is very little that is not wasteful and dismal about war. The only clear, deep, good is the special kind of bond welded between people who, having mutually shared a crisis, whether it be a shelling or a machine-gun attack, emerge knowing that those involved behaved well. There is much pretence in our everyday life, and, with a skilful manner, much can be concealed. But with a shell whistling at you there is not much time to pretend and a person’s qualities are starkly revealed. You believe that you can trust what you have seen. It is a feeling that makes old soldiers, old sailors, old airmen, and even old war correspondents, humanly close in a way shut off to people who have not shared the same thing. I think that correspondents, because they are rarely in a spot where their personal strength or cowardice can affect the life of another, probably feel only an approximation of this bond. So far as I am concerned, even this approximation is one of the few emotions about which I would say: It’s as close to being absolutely good as anything I know.
Marguerite Higgins