Wilder Boys Quotes

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

She’s never liked us much, not since she complained that there were no boys on the island, and Reese gave her the blankest look I’ve ever seen and said, “Plenty of girls, though.
Rory Power (Wilder Girls)
Some say that we shall never know, and that to the gods we are like the flies that the boys kill on a summer's day, and some say, to the contrary, that the very sparrows do not lose a feather that has not been brushed away by the finger of God.
Thornton Wilder (The Bridge of San Luis Rey)
Never bet your money on another man's game.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
We can have wilderness without freedom; we can have wilderness without human life at all, but we cannot have freedom without wilderness, we cannot have freedom without leagues of open space beyond the cities, where boys and girls, men and women, can live at least part of their lives under no control but their own desires and abilities, free from any and all direct administration by their fellow men.
Edward Abbey
A farmer depends on himself, and the land and the weather. If you're a farmer, you raise what you eat, you raise what you wear, and you keep warm with wood out of your own timber. You work hard, but you work as you please, and no man can tell you to go or come. You'll be free and independent, son, on a farm.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
And I’ve wanted boys, and I’ve wanted girls, but I’ve never wanted anyone enough to miss them,
Rory Power (Wilder Girls)
A long time ago, when all the grandfathers and grandmothers of today were little boys and little girls or very small babies, or perhaps not even born, Pa and Ma and Mary and Laura and Baby Carrie left their little house in the Big Woods of Wisconsin
Laura Ingalls Wilder
It was a small town by a small river and a small lake in a small northern part of a Midwest state. There wasn't so much wilderness around you couldn't see the town. But on the other hand there wasn't so much town you couldn't see and feel and touch and smell the wilderness. The town was full of trees. And dry grass and dead flowers now that autumn was here. And full of fences to walk on and sidewalks to skate on and a large ravine to tumble in and yell across. And the town was full of... Boys. And it was the afternoon of Halloween. And all the houses shut against a cool wind. And the town was full of cold sunlight. But suddenly, the day was gone. Night came out from under each tree and spread.
Ray Bradbury (The Halloween Tree)
It was muskets that won the Revolution. And don't forget it was axes, and plows that made this country.- Father Wilder
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
Once upon a bye, before your grandfather’s grandfather was born, on the edge of an unexplored wilderness called the Endless Forest, there lived a boy named Tim
Stephen King (The Wind through the Keyhole (The Dark Tower, #4.5))
It's a strange thing, but somehow we expect more of girls than of boys. It is the sisters and wives and mothers, you know, Caddie, who keep the world sweet and beautiful. What a rough world it would be if there were only men and boys in it, doing things in their rough way! A woman's task is to teach them gentleness and courtesy and love and kindness. It's a big task, too, Caddie--harder than cutting trees or building mills or damming rivers. It takes nerve and courage and patience, but good women have those things. They have them just as much as the men who build bridges and carve roads through the wilderness. A woman's work is something fine and noble to grow up to, and it is just as important as a man's.
Carol Ryrie Brink (Caddie Woodlawn (Caddie Woodlawn, #1))
It's work, son," Father said. "That's what money is; it's hard work.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
He knew you could never teach an animal anything if you struck it, or even shouted at it angrily. He must always be gentle, and quiet, and patient, even when they made mistakes. Star
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
Almanzo! What’s the matter? Be you sick? It’s five o’clock!
Laura Ingalls Wilder (Farmer Boy: Little House on the Prairie #2)
Men of dreams, the lovers and the poets, are better in most things than the men of my sort; the men of intellect. You take your being from your mothers. You live to the full: it is given you to love with your whole strength, to know and taste the whole of life. We thinkers, though often we seem to rule you, cannot live with half your joy and full reality. Ours is a thin and arid life, but the fullness of being is yours; yours the sap of the fruit, the garden of lovers, the joyous pleasaunces of beauty. Your home is the earth, ours the idea of it. Your danger is to be drowned in the world of sense, ours to gasp for breath in airless space. You are a poet, I a thinker. You sleep on your mother's breast, I watch in the wilderness. On me there shines the sun; on you the moon with all the stars. Your dreams are all of girls, mine of boys—
Hermann Hesse (Narcissus and Goldmund)
There was no time to lose, no time to waste in rest or play. The life of the earth comes up with a rush in the springtime.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
Can I say I’m a reformed bad boy without sounding like a tool?
R.S. Grey (Scoring Wilder)
Everybody knows girls like the bad boys, and I’m thoroughly bad.
Jasinda Wilder (Falling Under (Falling, #3))
The candle-light was dim, as though the darkness were trying to put it out.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
The wings and the golden weather and the tang of frost in the mornings made Laura want to go somewhere. She did not know where. She wanted only to go.
Laura Ingalls Wilder (Little House in the Big Woods, Farmer Boy, Little House on the Prairie, On the Banks of Plum Creek, By the Shores of Silver Lake (Little House #1-5))
Mothers always fuss about the way you eat. You can hardly eat any way that pleases them.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
As Plato, the dangerous beguiler, said: the best philosophers in the world are boys with their beards new on their chins; I am a boy again.
Thornton Wilder (The Ides of March)
Roughing it builds a boy's character, but only certain kinds of roughing it.
Margaret Atwood (Wilderness Tips)
Popcorn is American. Nobody but the Indians ever had popcorn, till after the Pilgrim Fathers came to America. On
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
I’ve wanted boys, and I’ve wanted girls, but I’ve never wanted anyone enough to miss them, enough to pluck them from the slideshow of my old life and bring them here.
Rory Power (Wilder Girls)
Now I lay me down to sleep, I pray the Lord my soul to keep. If I should die before I wake I pray the Lord my soul to take,
Laura Ingalls Wilder (Little House in the Big Woods, Farmer Boy, Little House on the Prairie, On the Banks of Plum Creek, By the Shores of Silver Lake (Little House #1-5))
Almanzo couldn't understand how Father knew that he wasn't looking at the preacher, if Father was looking at the preacher himself. But Father always did know.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
A farmer depends on himself, and the land and the weather. If you’re a farmer, you raise what you eat, you raise what you wear, and you keep warm with wood out of your own timber. You work hard, but you work as you please, and no man can tell you to go or come. You’ll be free and independent, son, on a farm.
Laura Ingalls Wilder (Farmer Boy: Little House on the Prairie #2)
You can fill a glass full to the brim with milk, and fill another glass of the same size brim full of popcorn, and then you can put all the popcorn kernel by kernel into the milk, and the milk will not run over. You cannot do this with bread. Popcorn and milk are the only two things that will go into the same place.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
What we don't have now we don't need now. Possibly His very withholding is in order that the boy may learn, at this crucial juncture in his life, to turn to God in prayer for a deeply felt need.
Elisabeth Elliot (Loneliness: It Can Be A Wilderness. It Can Be A Pathway To God.)
Clear your mind of all dread and suspicion; this is the first step in the wilderness life. Think not the water will drown you, or that anything in the water or on land will bite or poison you. Have confidence in nature and yourself. Perhaps three-fourths of your physical failures are due to lack of nerve and will-power. It
Charles Alexander Eastman (Indian Scout Talks A Guide for Boy Scouts and Camp Fire Girls)
Listen, you are no longer a boy. You are forty. When will you learn not to wait for chance but to build on what you have and use each day to consolidate your position? Why have you never been anything more than Tribune? Because your plans always begin with next month.
Thornton Wilder (The Ides of March)
That's the noise that made the Redcoats run!" Mr. Paddock said to Father. "Maybe," Father said, tugging his beard. "But it was muskets that won the Revolution. And don't forget it was axes and plows that made this country." "That's so, come to think of it," Mr. Paddock said.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
He holds up two blue enamel coffee cups. “It could be worse. It could be winter.” Or I could be stuck in the wilderness, miles away from civilization, with the boy who crushed my heart in the palm of his hand. Oh, wait. I am.
Jenn Bennett (Starry Eyes)
Down a long road through the woods a little boy trudged to school, with his big brother Royal and his two sisters, Eliza Jane and Alice. Royal was thirteen years old, Eliza Jane was twelve, and Alice was ten. Almanzo was the youngest of all, and this was his first going-to-school, because he was not quite nine years old.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
French Louis Seymour of the West Canada Creek, who knew how to survive all alone in a treacherous wilderness, and Mr. Alfred G. Vanderbilt of New York City and Raquette Lake, who was richer than God and traveled in his very own Pullman car, and Emmie Hubbard of the Uncas Road, who painted the most beautiful pictures when she was drunk and burned them in her woodstove when she was sober, were all ten times more interesting to me than Milton's devil or Austen's boy-crazy girls or that twitchy fool of Poe's who couldn't think of any place better to bury a body than under his own damn floor.
Jennifer Donnelly (A Northern Light)
Mother said she would always believe that Providence had sent the strange dog to watch over them. Almanzo thought perhaps he stayed because Alice fed him. "Maybe he was sent to try us," Mother said. "Maybe the Lord was merciful to us because we were merciful to him.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
Almanzo
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
nipped
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
A good horseman always takes care of his horses before he eats or rests.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
The Bergson boys, certainly, would have been happier with their uncle Otto, in the bakery shop in Chicago. Like most of their neighbours, they were meant to follow in paths already marked out for them, not to break trails in a new country. A steady job, a few holidays, nothing to think about, and they would have been very happy. It was no fault of theirs that they had been dragged into the wilderness when they were little boys. A pioneer should have imagination, should be able to enjoy the idea of things more than the things themselves.
Willa Cather (O Pioneers!)
all the land our forefathers had was a little strip of country, here between the mountains and the ocean. All the way from here west was Indian country, and Spanish and French and English country. It was farmers that took all that country and made it America.” “How?” Almanzo asked. “Well, son, the Spaniards were soldiers, and high-and-mighty gentlemen that only wanted gold. And the French were fur-traders, wanting to make quick money. And England was busy fighting wars. But we were farmers, son; we wanted the land. It was farmers that went over the mountains, and cleared the land, and settled it, and farmed it, and hung on to their farms.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
You talk of the mines of Australia, They’ve wealth in red gold, without doubt; But, ah! there is gold on the farm, boys— If only you’ll shovel it out. (Chorus:) “Don’t be in a hurry to go! Don’t be in a hurry to go! Better risk the old farm awhile longer, Don’t be in a hurry to go!
Laura Ingalls Wilder (The First Four Years (Little House, #9))
It is well to be attentive to successive ambitions that flood the growing boy's and girl's imagination. They leave profound traces behind them. During those years when the first sap is rising the future tree is foreshadowing its contour. We are shaped by the promises of imagination.
Thornton Wilder (Theophilus North)
Cattle did not have to be led to water. They came eagerly to the trough and drank while Almanzo pumped, then they hurried back to the warm barns, and each went to its own place. Each cow turned into her own stall and put her head between her own stanchions. They never made a mistake. Whether this was because they had more sense than horses, or because they had so little sense that they did everything by habit, Father did not know.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
This country goes three thousand miles west, now. It goes ’way out beyond Kansas, and beyond the Great American Desert, over mountains bigger than these mountains, and down to the Pacific Ocean. It’s the biggest country in the world, and it was farmers who took all that country and made it America, son. Don’t you ever forget that.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
My prerogative as your father is to break the face of anyone who fucks with you. And I will, whether you like it or not. So if our boy Oz prefers to have his face in one piece, he’ll treat you like the precious thing you are.
Jasinda Wilder (Falling Under (Falling, #3))
Almanzo knew that in the whole world there was nothing so beautiful, so fascinating, as beautiful horses. When he thought that it would be years and years before he could have a little colt to teach and take care of, he could hardly bear it.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
I told my plan to Fritz once, and he said it was just what he would like, and agreed to try it when we got rich. Bless his dear heart, he's been doing it all his life—helping poor boys, I mean, not getting rich, that he'll never be. Money doesn't stay in his pocket long enough to lay up any. But now, thanks to my good old aunt, who loved me better than I ever deserved, I'm rich, at least I feel so, and we can live at Plumfield perfectly well, if we have a flourishing school. It's just the place for boys, the house is big, and the furniture strong and plain. There's plenty of room for dozens inside, and splendid grounds outside. They could help in the garden and orchard. Such work is healthy, isn't it, sir? Then Fritz could train and teach in his own way, and Father will help him. I can feed and nurse and pet and scold them, and Mother will be my stand-by. I've always longed for lots of boys, and never had enough, now I can fill the house full and revel in the little dears to my heart's content. Think what luxury— Plumfield my own, and a wilderness of boys to enjoy it with me.
Louisa May Alcott (Little Women)
And that was the way it was in the old days before the country grew up and men put their guns away. Someday, and I hope it never comes, there may be a time when the Western hills are empty again and the land will go back to wilderness and the old, hard ways. Enemies may come into our country and times will have changed, but then the boys will come down from the old high hills and belt on their guns again. They can do it if they have to. The guns are hung up, the cows roam fat and lazy, but the old spirit is still there, just as it was when the longhorns came up the trail from Texas, and the boys washed the creeks for gold.
Louis L'Amour (To Tame a Land)
It is eighteen years ago, almost to the day- A sunny day with the leaves just turning, The touch-lines new-ruled - since I watched you play Your first game of fotball, then, like a satellite Wrenched from its orbit, go drifting away Behind a scatter of boys. I can see You walking away from me towards the school with the pathos of a half-fledged thing set free Into a wilderness, the gait of one Who finds no path where the path should be. That hesitant figure, eddying away Like a winged seed loosened from its parent stem, Has something I never quite grasp to convey About nature's give-and-take - the small, the scorching Ordeals which fire one's irresolute clay. I had worse partings, but none that so Gnaws at my mind still. Perhaps it is roughly Saying what God alone could perfectly show- How selfhood begins with a walking away, And love proved in the letting go.
Cecil Day-Lewis
People who have never canoed a wild river, or who have done so only with a guide in the stern, are apt to assume that novelty, plus healthful exercise, account for the value of the trip. I thought so too, until I met the two college boys on the Flambeau. Supper dishes washed, we sat on the bank watching a buck dunking for water plants on the far shore. Soon the buck raised his head, cocked his ears upstream, and then bounded for cover. Around the bend now came the cause of his alarm: two boys in a canoe. Spying us, they edged in to pass the time of day. ‘What time is it?’ was their first question. They explained that their watches had run down, and for the first time in their lives there was no clock, whistle, or radio to set watches by. For two days they had lived by ‘sun-time,’ and were getting a thrill out of it. No servant brought them meals: they got their meat out of the river, or went without. No traffic cop whistled them off the hidden rock in the next rapids. No friendly roof kept them dry when they misguessed whether or not to pitch the tent. No guide showed them which camping spots offered a nightlong breeze, and which a nightlong misery of mosquitoes; which firewood made clean coals, and which only smoke. Before our young adventurers pushed off downstream, we learned that both were slated for the Army upon the conclusion of their trip. Now the motif was clear. This trip was their first and last taste of freedom, an interlude between two regimentations: the campus and the barracks. The elemental simplicities of wilderness travel were thrills not only because of their novelty, but because they represented complete freedom to make mistakes. The wilderness gave them their first taste of those rewards and penalties for wise and foolish acts which every woodsman faces daily, but against which civilization has built a thousand buffers. These boys were ‘on their own’ in this particular sense. Perhaps every youth needs an occasional wilderness trip, in order to learn the meaning of this particular freedom.
Aldo Leopold (A Sand County Almanac; with essays on conservation from Round River)
Almanzo could see his feet, but of course Alice's were hidden under her skirts. Her hoops rounded out, and she had to pull them back and stoop to drop the seeds neatly into the furrow. Almanzo asked her if she didn't want to be a boy. She said yes, she did. Then she said no, she didn't. "Boys aren't pretty like girls, and they can't wear ribbons." "I don't care how pretty I be," Almanzo said. "And I wouldn't wear ribbons anyhow." "Well, I like to make butter and I like to patch quilts. And cook, and sew, and spin. Boys can't do that. But even if I be a girl, I can drop potatoes and sow carrots and drive horses as well as you can." "You can't whistle on a grass stem," Almanzo said.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
And I, who claim to know so much more, isn't it possible that even I have missed the very spring within the spring? Some say that we will never know, and that to the gods we are like the flies that the boys kill on a summer day, and some say, on the contrary, that the very sparrows do not lose a feather that has not been brushed away by the finger of God.
Thornton Wilder (The Bridge of San Luis Rey)
When a man undertakes a job, he has to stick to it till he finishes it. If
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
This year the teacher was a slim, pale young man. His name was Mr. Corse. He was gentle and patient, and never whipped little boys because they forgot how to spell a word. Almanzo
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
Then Father said: “If the teacher has to thrash you again, Royal, I’ll give you a thrashing you’ll remember.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
be sick at his stomach. He managed to say, “No,
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
grooming.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
You don't want to hear about the time I was a naughty little boy.
Laura Ingalls Wilder (Little House in the Big Woods)
What good is time with nothing to do?
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
It was farmers that took all that land and made it America...It was farmers that went over the mountains, and cleared the land, and settled it, and farmed it, and hung onto their land.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
... As for me, I taught the lad the real character of a rifle; and well has he paid me for it. I have fought at his side in many a bloody scrimmage; and so long as I could hear the crack of his piece in one ear, and that of the Sagamore in the other, I knew no enemy was on my back. Winters and summers, nights and days, have we roved the wilderness in company, eating of the same dish, one sleeping while the other watched; and afore it shall be said that Uncas was taken to the torment, and I at hand - There is but a single ruler of us all, whatever maybe the color of the skin, and him I call to witness - that before the Mohican boy shall perish for the want of a friend, good faith shall depart the 'arth and 'Kill-deer' become as harmless as the tooting we'pon of the singer!
James Fenimore Cooper (The Last of the Mohicans (The Leatherstocking Tales, #2))
Almanzo could only look longingly at the eager three-year-olds. He just touched their velvety noses, and then he went quickly away from them, and put on his barn frock over his good school-clothes.
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
It was as if the boy had already divined what his senses and intellect had not encompassed yet: that doomed wilderness whose edges were being constantly and punily gnawed at by men with plows and axes who feared it because it was wilderness, men myriad and nameless even to one another in the land where the old bear had earned a name, and through which ran not even a mortal beast but an anachronism indomitable and invincible out of an old dead time, a phantom, epitome and apotheosis of the old wild life which the little puny humans swarmed and hacked at in fury of abhorrence and fear like pygmies about the ankles of a drowsing elephant;--the old bear, solitary, indomitable, and alone; widowered childless and absolved of mortality--old Priam reft of his old wife and outlived all his sons.
William Faulkner
Harp of the North, farewell! The hills grow dark, On purple peaks a deeper shade descending; In twilight copse the glow-worm lights her spark, The deer, half seen, are to the covert wending. Resume thy wizard elm! the fountain lending, And the wild breeze, thy wilder minstrelsy; Thy numbers sweet with nature's vespers blending, With distant echo from the fold and lea, And herd-boy's evening pipe, and hum of housing bee.
Walter Scott (Lady of the Lake)
I dare you to ask him,” Frank said. The other boys were listening. Almanzo put his hands in his pockets and said: “I’d just as lief ask him if I wanted to.” “Yah, you’re scared!” Frank jeered. “Double dare! Double dare!
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
Haste makes waste, but a lazy man'd rather get his work done fast than do it himself...all it saves is time, son. And what good is time, with nothing to do? You want to sit and twiddle your thumbs, all these stormy winter days?
Laura Ingalls Wilder (Farmer Boy (Little House, #2))
Inside Duquet something like a tightly closed pine cone licked by fire opened abruptly and he exploded with incensed and uncontrollable fury, a life’s pent-up rage. ‘No one helped me,’ he shrieked, ‘I did everything myself. I endured. I contended with powerful men. I suffered in the wilderness. I accepted the risk I might die. No one helped me!’ The boy’s gaze shifted, the fever-boiled eyes following Duquet’s rising arm closing only when the tomahawk split his brain.
Annie Proulx (Barkskins)
Inside Duquet something like a tightly closed pine cone licked by fire opened abruptly and he exploded with incensed and uncontrollable fury, a life’s pent-up rage. ‘No one helped me,’ he shrieked, ‘I did everything myself. I endured. I contended with powerful men. I suffered in the wilderness. I accepted the risk I might die. No one helped me!’ The boy’s gaze shifted, the fever-boiled eyes following Duquet’s rising arm closing only when the tomahawk split his brain.
Annie Proulx (Barkskins)
Somehow the people who made tennis shoes knew what boys needed and wanted. They put marshmallows and coiled springs in the soles and they wove the rest out of grasses bleached and fired in the wilderness. Somewhere deep in the soft loam of the shoes the thin hard sinews of the buck deer were hidden. The people that made the shoes must have watched a lot of winds blow the trees and a lot of rivers going down to the lakes. Whatever it was, it was in the shoes, and it was summer.
Ray Bradbury (Dandelion Wine)
That was a cold, late spring. The dawns were chilly, and at noon the sunlight was cool. The trees unfolded their leaves slowly; the peas and beans, the carrots and corn, stood waiting for warmth and did not grow. When the rush of spring’s work was over, Almanzo had to go to school again. Only small children went to the spring term of school, and he wished he were old enough to stay home. He didn’t like to sit and study a book when there were so many interesting things to do. Father hauled the fleeces to the carding-machine in Malone, and brought home the soft, long rolls of wool, combed out straight and fine. Mother didn’t card her own wool any more, since there was a machine that did it on shares. But she dyed it. Alice and Eliza Jane were gathering roots and barks in the woods, and Royal was building huge bonfires in the yard. They boiled the roots and the bark in big caldrons over the fires, and they dipped the long skeins of wool thread that Mother had spun, and lifted them
Laura Ingalls Wilder (Farmer Boy: Little House on the Prairie #2)
Flags were everywhere, and in the Square the band was playing “Yankee Doodle.” The fifes tooted and the flutes shrilled and the drums came in with rub-a-dub-dub. Yankee Doodle went to town, Riding on a pony, He stuck a feather in his hat And called it macaroni!
Laura Ingalls Wilder (Farmer Boy: Little House on the Prairie #2)
Government, too, must have qualities of the spirit,” Collins told the crowd. “Truth and justice and fairness and unselfish service are some of these. Without these qualities there is no worthwhile leadership, and we grapple and grope in a moral wilderness.” Marshall
Gilbert King (Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America)
If the boy did have a good and loving mother somewhere, surely they would find her. God only knew how she wanted to believe it. Every single day, she practiced her detachment skills, trying not to care about everything that was wrong with the world. Or rather...to care, but in a suitably civilized manner, with an admirable commitment that might still be set aside when she came home to Morten and her family, complete with well-reasoned and coherent opinions of the humanist persuasion. Right now she felt more like one of those manic women from the animal protection societies, with wild hair and ever wilder eyes. Desperate.
Lene Kaaberbøl (The Boy in the Suitcase (Nina Borg, #1))
I instinctively knew that naming was the first part of understanding. According to the Book of Genesis Adam named all the animals before Eve was created: evidently, the ancient scribes appreciated that taxonomy provides the key to grasping the world. Without such a foundation, humans wander blindly in an unstructured wilderness.
Richard Fortey (A Curious Boy: The Making of a Scientist)
Oh. I get it." Abby laughed. "This is where you bid on someone to wash your car." "Naked," Charli said. "Or check the shower tiles." "Also naked." Abby laughed. "I'm guessing that as long as there's wet and naked, we're all good." Fiona let out a long sigh. "What was that?" Charli asked with a lift to her perfect brows. "Have you got a victim---I mean a participant in mind?" Fiona glanced across the hall. "Have you seen Jackson's fireman buddy?" "No." Charli looked across the room. "Should we?" "Too late," Fiona said. "I've got first dibs." At that moment, Abby noticed the Wilder boys walk across the front of the room near the stage. Individually, they were stunning. As a group, they looked as appetizing as a decadent box of chocolates. Abby couldn't tear her eyes away from Jackson. Put him in a fireman suit, a tux jacket and jeans, or a simple T-shirt and cargo shorts, and he took her breath away. Truthfully, she liked him best in noting at all. "Holy guacamole." Charli gestured to a tall, dark, and devastating man walking with the group. "Is that who you are talking about?" Fiona nodded. "I want to lick him up one side and down the other like a cherry Popsicle." "Honey, you bid as high as you can go," Charli said. "And if you run out of money, you just let me know. I'd be happy to chip in.
Candis Terry (Sweetest Mistake (Sweet, Texas, #2))
Mr. Wilder! What a pleasure to see you, my boy!” Hmm, not the server. His hair is jet black, and he has a perfect Mario mustache. Exactly like that Nintendo character.  “Hi, Mario.” Shut the front door. That is not his name! “I’d like you to meet Katelyn.” Jackson gestures to me. “This is her first time visiting your fine restaurant.
S.J. Tilly (Sleet Kitten (Sleet, #1))
Pa always stopped telling the story here, and waited until Laura said: “Go on, Pa! Please go on.” “Well,” Pa said, “then your Grandpa went out into the yard and cut a stout switch. And he came back into the house and gave me a good thrashing, so that I would remember to mind him after that. “‘A big boy nine years old is old enough to remember to mind,’ he said. ‘There’s a good reason for what I tell you to do,’ he said, ‘and if you’ll do as you’re told, no harm will come to you.’” “Yes, yes, Pa!” Laura would say, bouncing up and down on Pa’s knee. “And then what did he say?” “He said, ‘If you’d obeyed me, as you should, you wouldn’t have been out in the Big Woods after dark, and you wouldn’t have been scared by a screech-owl.
Laura Ingalls Wilder (Little House in the Big Woods (Little House, #1))
Don't you know that the less you tell someone, the more they want to know? You're better off to make something up than to say nothing at all." "I'm the youngest of twelve children of two South African missionaries," he said with such ease,she very nearly believed him. "When I was six,I wandered into the jungle and was taken in by a pride of lions.I still have a pechant for zebra meat.Then when I was eightteen,I was captured by hunters and sold to a circus.For five years I was the star of the sideshow." "The Lion Boy," Gennie put in. "Naturally.One night during a storm the tent caught fire.In the confusion I escaped.Living off the land, I wandered the country-stealing a few chickens now and again.Eventually an old hermit took me in after I'd saved him from a grizzly." "With your bare hands," Gennie added. "I'm telling the story," he reminded her. "He taught me to read and write. On his deathbead he told me where he'd buried his life savings-a quarter million in gold bullion. After giving him the Viking funeral he'd requested, I had to decide whether to be a stockbroker or go back to the wilderness." "So you decided against Wall Street, came here, and began to collect stamps." "That's about it." "Well," Gennie said after a moment. "With a boring story like that, I can see why you keep it to yourself." "You asked," Grant pointed out. "You might have made something up." "No imagination." She laughed then and leaned her head on his shoulder. "No,I can see you have a very literal mind.
Nora Roberts (The MacGregors: Alan & Grant (The MacGregors, #3-4))
In his sovereignty, God looked down through history and specifically chose you to be the father of your child. He decided no one else could raise that boy or girl better than you. In all of history, there were no other guys better equipped to lead our children through this wilderness than you and I could. He’s put a lot of faith in us and he’s the ultimate strategic planner.
Tez Brooks (The Single Dad Detour: Directions for Fathering After Divorce)
I've done my research and learned this : Ten is when we learn how to be good girls and real boys.Ten is when children begin to hide who they are in order to become what the world expects them to be.Right around ten is when we begin to internalize our formal taming.Ten is when the world sat me down, told me to be quiet, and pointed toward my cages: These are the feelings you are allowed to express.This is how a woman should act.This is the body you must strive for.These are the things you will believe.These are the people you can love.Those are the people you should fear.This is the kind of life you are supposed to want.Make yourself fit.You'll be uncomfortable at first, but don't worry-eventually you'll forget you're caged.Soon this will just feel like: life.
Glennon Doyle (Untamed)
Now, looking about me in the desolation and the splendour, I knew what I had lacked all these years. I forgot my fellow travellers, forgot the grey fuselage of the crippled 'plane - an anachronism, surely, amid the wilderness of centuries - and forgot too my grey hair, my heavy frame, and all the burden of my five-and-fifty years. I was a boy again, hopeful, eager, seeking an answer to eternity.
Daphne du Maurier (The Birds and Other Stories)
that path. He said he had seen it yesterday. “It’s some old trail,” he said. That night by the fire Laura asked again when she would see a papoose, but Pa didn’t know. He said you never saw Indians unless they wanted you to see them. He had seen Indians when he was a boy in New York State, but Laura never had. She knew they were wild men with red skins, and their hatchets were called tomahawks. Pa
Laura Ingalls Wilder (Little House on the Prairie (Little House, #3))
with which he carved the pictures. Laura and Mary were allowed to take Ma’s thimble and make pretty patterns of circles in the frost on the glass. But they never spoiled the pictures that Jack Frost had made in the night. When they put their mouths close to the pane and blew their breath on it, the white frost melted and ran in drops down the glass. Then they could see the drifts of snow outdoors and the
Laura Ingalls Wilder (Little House in the Big Woods, Farmer Boy, Little House on the Prairie, On the Banks of Plum Creek, By the Shores of Silver Lake (Little House #1-5))
One of the ironies of modern religion is that the absolute commitment to truth in some forms of evangelical and fundamentalist Christianity and the concomitant view that truth is objective and can be verified by any impartial observer have led many faithful souls to follow the truth wherever it leads—and where it leads is often away from evangelical or fundamentalist Christianity. So if, in theory, you can verify the “objective” truth of religion, and then it turns out that the religion being examined is verifiably wrong, where does that leave you? If you are an evangelical Christian, it leaves you in the wilderness outside the evangelical camp, but with an unrepentant view of truth. Objective truth, to paraphrase a not so Christian song, has been the ruin of many a poor boy, and God, I know, I’m one. Before moving outside into
Bart D. Ehrman (Forged: Writing in the Name of God — Why the Bible's Authors Are Not Who We Think They Are)
Molly and I had big ideas, then. We were going to change things. We were going to break the code, circumvent the old boys' network, show that women could do it, whatever it might be. We were going to take on the system, get better divorce settlements, root for equal pay. We wanted justice and fair play. We thought that was what the law was for. We were brave but we had it backwards. We didn't know you had to begin with the judges.
Margaret Atwood (Wilderness Tips)
One day, putting my finger on a spot in the very middle of the then white heart of Africa, I declared that some day I would go there ... It is a fact that, about eighteen years afterwards, a wretched little stern-wheel steamboat I commanded lay moored to the bank of an African river. Everything was dark under the stars. Every other white man on board was asleep. I was glad to be alone on deck, smoking the pipe of peace after an anxious day. The subdued thundering mutter of the Stanley Falls hung in the heavy night air of the last navigable reach of the Upper Congo ... Away in the middle of the stream, on a little island nestling all black in the foam of the broken water, a solitary little light glimmered feebly, and I said to myself with awe, 'This is the very spot of my boyish boast.' A great melancholy descended on me. Yes, this was the very spot. But there was no shadowy friend to stand by my side in the night of the enormous wilderness, no great haunting memory, but only the ... distasteful knowledge of the vilest scramble for loot that ever disfigured the history of human conscience and geographical exploration. What an end to the idealised realities of a boy's daydreams!... Still, the fact remains that I have smoked a pipe of peace at midnight in the very heart of the African continent, and felt very lonely there.
Joseph Conrad (Conrad's Congo)
While he turned and twisted the strips, the thin outer bark fell off in flakes, leaving the soft, white, inside bark. The whip would have been white, except that Almanzo’s hands left a few smudges. He could not finish it before chore-time, and the next day he had to go to school. But he braided his whip every evening by the heater, till the lash was five feet long. Then Father lent him his jack-knife, and Almanzo whittled a wooden handle, and bound the lash to it with strips of moosewood bark. The whip was done. It would be a perfectly good whip until it dried brittle in the hot summer. Almanzo could crack it almost as loudly as Father cracked a blacksnake whip. And he did not finish it a minute too soon, for already he needed it to give the calves their next lesson. Now he had to teach them to turn to the left when he shouted, “Haw!” and to turn to the right when he shouted “Gee!” As soon as the whip was ready, he began. Every Saturday morning he spent in the barnyard, teaching Star and Bright. He never whipped them; he only cracked the whip.
Laura Ingalls Wilder (Farmer Boy: Little House on the Prairie #2)
FOR YEARS I have carried in my head a thought tossed out by Aldo Leopold. In the early 20th century, he worked for the U.S. Forest Service in Eastern Arizona, and he killed a wolf to protect the cattle and increase the deer. He went on to become a pioneer in wildlife management and a leading conservationist. He wrote an essay about that killing. He’d decided that when he’d pulled the trigger and helped remove the wolf from the Southwest, he’d made the mountain a lesser place. He said we had to learn to think like a mountain. I stare into the gate of rock framing the entrance to Pima Canyon. The mesquite leaves hang listless in the heat. Underfoot, a broken field of granite spreads out. Past that stone gate, the freedom of the Pusch Ridge Wilderness begins. The place feels wanting without bighorns watching me. I can’t prove this. But I’ve known it since I was a boy. That’s why we look at the mountains and crave to be near them. Maybe we can’t think like a mountain. But we can do better than we have. We can bring the bighorns back where they belong. Counting sheep, An Essay by
Charles Bowden
Now the motif was clear. This trip was their first and last taste of freedom, an interlude between two regimentations: the campus and the barracks. The elemental simplicities of wilderness travel were thrills not only because of their novelty, but because they represented complete freedom to make mistakes. The wilderness gave them their first taste of those rewards and penalties for wise and foolish acts which every woodsman faces daily, but against which civilization has built a thousand buffers. These boys were ‘on their own’ in this particular sense.
Aldo Leopold (A Sand County Almanac: With Other Essays on Conservation from Round River (Galaxy Books))
Yet it wasn’t the Mississippi River that captured Jim Bridger’s imagination : it was the Missouri. A mere six likes from his ferry the two great rivers joined as one, the wild waters of the frontier pouring into the bromide current of the everyday. It was the confluence of old and new, known and unknown, civilization and wilderness. Bridger lived for the rare moments when the fur traders and voyageurs tied their sleek Mackinaws at the ferry landing, sometimes even camping for the night. He marveled at their tales of savage Indians, teeming game, forever plains, and soaring mountains. The frontier for Bridger became an aching presence that he could feel, but could not define, a magnetic force pulling him inexorably toward something that he had heard about, but never seen. A preacher on a swaybacked mule rode Bridger’s ferry one day. He asked Bridger if he knew God’s mission for him in life. Without pause Bridger answered, “Go to the Rockies”. The preacher was elated, urging the boy to consider missionary work with the savages. Bridger had no interest in bringing Jesus to the Indians, but the conversation stuck with him. The boy came to believe that going west was more than just a fancy for someplace new. He came to see it as a part of his soul, a missing piece that could only be made whole on some far-off mountain or plain.
Michael Punke (The Revenant)
But Eugene was untroubled by thought of a goal. He was mad with such ecstasy as he had never known. He was a centaur, moon-eyed and wild of name, torn apart with hunger for the golden world. He became at times almost incapable of coherent speech. While talking with people, he would whinny suddenly into their startled faces, and leap away, his face contorted with an idiot joy. He would hurl himself squealing through the streets and along the paths, touched with the ecstasy of a thousand unspoken desires. The world lay before him for his picking—full of opulent cities, golden vintages, glorious triumphs, lovely women, full of a thousand unmet and magnificent possibilities. Nothing was dull or tarnished. The strange enchanted coasts were unvisited. He was young and he could never die. He went back to Pulpit Hill for two or three days of delightful loneliness in the deserted college. He prowled through the empty campus at midnight under the great moons of the late rich Spring; he breathed the thousand rich odours of tree and grass and flower, of the opulent and seductive South; and he felt a delicious sadness when he thought of his departure, and saw there in the moon the thousand phantom shapes of the boys he had known who would come no more. He still loitered, although his baggage had been packed for days. With a desperate pain, he faced departure from that Arcadian wilderness where he had known so much joy. At night he roamed the deserted campus, talking quietly until morning with a handful of students who lingered strangely, as he did, among the ghostly buildings, among the phantoms of lost boys. He could not face a final departure. He said he would return early in autumn for a few days, and at least once a year thereafter. Then one hot morning, on sudden impulse, he left. As the car that was taking him to Exeter roared down the winding street, under the hot green leafiness of June, he heard, as from the sea-depth of a dream, far-faint, the mellow booming of the campus bell. And suddenly it seemed to him that all the beaten walks were thudding with the footfalls of lost boys, himself among them, running for their class. Then, as he listened, the far bell died away, and the phantom runners thudded into oblivion. The car roared up across the lip of the hill, and drove steeply down into the hot parched countryside below. As the lost world faded from his sight, Eugene gave a great cry of pain and sadness, for he knew that the elfin door had closed behind him, and that he would never come back again. He saw the vast rich body of the hills, lush with billowing greenery, ripe-bosomed, dappled by far-floating cloudshadows. But it was, he knew, the end. Far-forested, the horn-note wound. He was wild with the hunger for release: the vast champaign of earth stretched out for him its limitless seduction. It was the end, the end. It was the beginning of the voyage, the quest of new lands. Gant was dead. Gant was living, death-in-life. In
Thomas Wolfe (Look Homeward, Angel)
Some of the most unrecognized ministries are my favorite kind. Like the ministry of playing video games with awkward adolescent boys. The ministry of bringing takeout food to people whose baby is very sick in the hospital. The ministry of picking up empty chip wrappers at the park. The ministry of sending postcards. The ministry of sitting in silence with someone in the psych ward. The ministry of sending hilarious and inspirational text messages. The ministry of washing dishes without being asked. The ministry of flower gardening. The ministry of not laughing at teenagers when they talk about their relationship crises. The ministry of making an excellent cup of coffee. The ministry of drinking a terrible cup of coffee with a bright smile. The ministry of noticing beauty everywhere - in fabrics, in art, and in the wilderness.
D.L. Mayfield (Assimilate or Go Home: Notes from a Failed Missionary on Rediscovering Faith)
Sunday Morning V She says, "But in contentment I still feel The need of some imperishable bliss." Death is the mother of beauty; hence from her, Alone, shall come fulfilment to our dreams And our desires. Although she strews the leaves Of sure obliteration on our paths, The path sick sorrow took, the many paths Where triumph rang its brassy phrase, or love Whispered a little out of tenderness, She makes the willow shiver in the sun For maidens who were wont to sit and gaze Upon the grass, relinquished to their feet. She causes boys to pile new plums and pears On disregarded plate. The maidens taste And stray impassioned in the littering leaves. VI Is there no change of death in paradise? Does ripe fruit never fall? Or do the boughs Hang always heavy in that perfect sky, Unchanging, yet so like our perishing earth, With rivers like our own that seek for seas They never find, the same receding shores That never touch with inarticulate pang? Why set the pear upon those river-banks Or spice the shores with odors of the plum? Alas, that they should wear our colors there, The silken weavings of our afternoons, And pick the strings of our insipid lutes! Death is the mother of beauty, mystical, Within whose burning bosom we devise Our earthly mothers waiting, sleeplessly. VII Supple and turbulent, a ring of men Shall chant in orgy on a summer morn Their boisterous devotion to the sun, Not as a god, but as a god might be, Naked among them, like a savage source. Their chant shall be a chant of paradise, Out of their blood, returning to the sky; And in their chant shall enter, voice by voice, The windy lake wherein their lord delights, The trees, like serafin, and echoing hills, That choir among themselves long afterward. They shall know well the heavenly fellowship Of men that perish and of summer morn. And whence they came and whither they shall go The dew upon their feet shall manifest. VIII She hears, upon that water without sound, A voice that cries, "The tomb in Palestine Is not the porch of spirits lingering. It is the grave of Jesus, where he lay." We live in an old chaos of the sun, Or old dependency of day and night, Or island solitude, unsponsored, free, Of that wide water, inescapable. Deer walk upon our mountains, and the quail Whistle about us their spontaneous cries; Sweet berries ripen in the wilderness; And, in the isolation of the sky, At evening, casual flocks of pigeons make Ambiguous undulations as they sink, Downward to darkness, on extended wings
Wallace Stevens
Fragment of the Elegy on the Death of Adonis Prom the Greek of Bion Published by Forman, "Poetical Works of P. B. S.", 1876. I mourn Adonis dead—loveliest Adonis— Dead, dead Adonis—and the Loves lament. Sleep no more, Venus, wrapped in purple woof— Wake violet-stoled queen, and weave the crown Of Death,—'tis Misery calls,—for he is dead. The lovely one lies wounded in the mountains, His white thigh struck with the white tooth; he scarce Yet breathes; and Venus hangs in agony there. The dark blood wanders o'er his snowy limbs, His eyes beneath their lids are lustreless, The rose has fled from his wan lips, and there That kiss is dead, which Venus gathers yet. A deep, deep wound Adonis... A deeper Venus bears upon her heart. See, his beloved dogs are gathering round— The Oread nymphs are weeping—Aphrodite With hair unbound is wandering through the woods, 'Wildered, ungirt, unsandalled—the thorns pierce Her hastening feet and drink her sacred blood. Bitterly screaming out, she is driven on Through the long vales; and her Assyrian boy, Her love, her husband, calls—the purple blood From his struck thigh stains her white navel now, Her bosom, and her neck before like snow. Alas for Cytherea—the Loves mourn— The lovely, the beloved is gone!—and now Her sacred beauty vanishes away. For Venus whilst Adonis lived was fair— Alas! her loveliness is dead with him. The oaks and mountains cry, Ai! ai! Adonis! The springs their waters change to tears and weep— The flowers are withered up with grief... Ai! ai! ... Adonis is dead Echo resounds ... Adonis dead. Who will weep not thy dreadful woe. O Venus? Soon as she saw and knew the mortal wound Of her Adonis—saw the life-blood flow From his fair thigh, now wasting,—wailing loud She clasped him, and cried ... 'Stay, Adonis! Stay, dearest one,... and mix my lips with thine— Wake yet a while, Adonis—oh, but once, That I may kiss thee now for the last time— But for as long as one short kiss may live— Oh, let thy breath flow from thy dying soul Even to my mouth and heart, that I may suck That...' NOTE: _23 his Rossetti, Dowden, Woodberry; her Boscombe manuscript, Forman
Percy Bysshe Shelley (The Complete Poetical Works of Percy Bysshe Shelley)
It’s a strange thing, but somehow we expect more of girls than of boys. It is the sisters and wives and mothers, you know, Caddie, who keep the world sweet and beautiful. What a rough world it would be if there were only men and boys in it, doing things in their rough way! A woman’s task is to teach them gentleness and courtesy and love and kindness. It’s a big task, too, Caddie—harder than cutting trees or building mills or damming rivers. It takes nerve and courage and patience, but good women have those things. They have them just as much as the men who build bridges and carve roads through the wilderness. A woman’s work is something fine and noble to grow up to, and it is just as important as a man’s. But no man could ever do it so well. I don’t want you to be the silly, affected person with fine clothes and manners whom folks sometimes call a lady. No, that is not what I want for you, my little girl. I want you to be a woman with a wise and understanding heart, healthy in body and honest in mind. Do you think you would like to be growing up into that woman now? How about it, Caddie, have we run with the colts long enough?
Carol Ryrie Brink (Caddie Woodlawn)
Quickly I find another surprise. The boys are wilder writers — less careful of convention, more willing to leap into the new. I start watching the dozens of vaguely familiar girls, who seem to have shaved off all distinguishing characteristics. They are so careful. Careful about their appearance, what they say and how they say it, how they sit, what they write. Even in the five-minute free writes, they are less willing to go out from where they are — to go out there, where you have to go, to write. They are reluctant to show me rough work, imperfect work, anything I might criticize; they are very careful to write down my instructions word by word. They’re all trying themselves on day by day, hour by hour, I know — already making choices that will last too unfairly long. I’m surprised to find, after a few days, how invigorating it all is. I pace and plead for reaction, for ideas, for words, and gradually we all relax a little and we make progress. The boys crouch in their too-small desks, giant feet sticking out, and the girls perch on the edge, alert like little groundhogs listening for the patter of coyote feet. I begin to like them a lot. Then the outlines come in. I am startled at the preoccupation with romance and family in many of these imaginary futures. But the distinction between boys and girls is perfectly, painfully stereotypical. The boys also imagine adventure, crime, inventions, drama. One expects war with China, several get rich and lose it all, one invents a time warp, another resurrects Jesus, another is shot by a robber. Their outlines are heavy on action, light on response. A freshman: “I grow populerity and for the rest of my life I’m a million air.” [sic] A sophomore boy in his middle age: “Amazingly, my first attempt at movie-making won all the year’s Oscars. So did the next two. And my band was a HUGE success. It only followed that I run the country.” Among the girls, in all the dozens and dozens of girls, the preoccupation with marriage and children is almost everything. They are entirely reaction, marked by caution. One after the other writes of falling in love, getting married, having children and giving up — giving up careers, travel, college, sports, private hopes, to save the marriage, take care of the children. The outlines seem to describe with remarkable precision the quietly desperate and disappointed lives many women live today.
Sallie Tisdale (Violation: Collected Essays)
natural personality, or maybe he was simply capable of greater perspective than everyone else. Maybe he wasn’t quite as addled by drugs and alcohol. For whatever reason, Michael stayed on the sidelines as the rest of the band fought like a pack of starving wolves who have come across a carcass in the wilderness. Previous tours, especially in the first couple of years, had always featured a fair amount of ball-busting and the occasional argument that was required simply to clear the air. For the most part, though, we had a blast on the road. It was a nonstop party punctuated by spectacularly energetic concerts. There had been a lightness to it all, a sense of being part of something special, and of wanting to enjoy every minute. But now the levity was gone. Even though they spent hardly any time together offstage, the boys were at each other’s throats constantly, either directly or through a conduit—usually me. Two more quick stories, both involving Al. We were all sitting outside by the hotel pool one day. A guy named Mike had been flown in for a couple days to take care of the boys’ grooming needs. Mike was a hairdresser or stylist or whatever you want to call him. Point is, he was really good at his job, an artistic
Noel E. Monk (Runnin' with the Devil: A Backstage Pass to the Wild Times, Loud Rock, and the Down and Dirty Truth Behind the Making of Van Halen)
We end up at an outdoor paintball course in Jersey. A woodsy, rural kind of place that’s probably brimming with mosquitos and Lyme disease. When I find out Logan has never played paintball before, I sign us both up. There’s really no other option. And our timing is perfect—they’re just about to start a new battle. The worker gathers all the players in a field and divides us into two teams, handing out thin blue and yellow vests to distinguish friend from foe. Since Logan and I are the oldest players, we both become the team captains. The wide-eyed little faces of Logan’s squad follow him as he marches back and forth in front of them, lecturing like a hot, modern-day Winston Churchill. “We’ll fight them from the hills, we’ll fight them in the trees. We’ll hunker down in the river and take them out, sniper-style. Save your ammo—fire only when you see the whites of their eyes. Use your heads.” I turn to my own ragtag crew. “Use your hearts. We’ll give them everything we’ve got—leave it all on the field. You know what wins battles? Desire! Guts! Today, we’ll all be frigging Rudy!” A blond boy whispers to his friend, “Who’s Rudy?” The kid shrugs. And another raises his hand. “Can we start now? It’s my birthday and I really want to have cake.” “It’s my birthday too.” I give him a high-five. “Twinning!” I raise my gun. “And yes, birthday cake will be our spoils of war! Here’s how it’s gonna go.” I point to the giant on the other side of the field. “You see him, the big guy? We converge on him first. Work together to take him down. Cut off the head,” I slice my finger across my neck like I’m beheading myself, “and the old dog dies.” A skinny kid in glasses makes a grossed-out face. “Why would you kill a dog? Why would you cut its head off?” And a little girl in braids squeaks, “Mommy! Mommy, I don’t want to play anymore.” “No,” I try, “that’s not what I—” But she’s already running into her mom’s arms. The woman picks her up—glaring at me like I’m a demon—and carries her away. “Darn.” Then a soft voice whispers right against my ear. “They’re already going AWOL on you, lass? You’re fucked.” I turn to face the bold, tough Wessconian . . . and he’s so close, I can feel the heat from his hard body, see the small sprigs of stubble on that perfect, gorgeous jaw. My brain stutters, but I find the resolve to tease him. “Dear God, Logan, are you smiling? Careful—you might pull a muscle in your face.” And then Logan does something that melts my insides and turns my knees to quivery goo. He laughs. And it’s beautiful. It’s a crime he doesn’t do it more often. Or maybe a blessing. Because Logan St. James is a sexy, stunning man on any given day. But when he laughs? He’s heart-stopping. He swaggers confidently back to his side and I sneer at his retreating form. The uniformed paintball worker blows a whistle and explains the rules. We get seven minutes to hide first. I cock my paintball shotgun with one hand—like Charlize Theron in Fury fucking Road—and lead my team into the wilderness. “Come on, children. Let’s go be heroes.” It was a massacre. We never stood a chance. In the end, we tried to rush them—overpower them—but we just ended up running into a hail of balls, getting our hearts and guts splattered with blue paint. But we tried—I think Rudy and Charlize would be proud
Emma Chase (Royally Endowed (Royally, #3))