Yacht Love Quotes

We've searched our database for all the quotes and captions related to Yacht Love. Here they are! All 10 of them:

I would rather go swimming with great white sharks than wade in romance 'cause I can never find the courage to ask her to dinner or even to dance.
Adam Young (Owl City), The Yacht Club
She is the swelling sail, trim rigging and bust sunlit deck of our matrimonial yacht. I am the low hull, with the invisible ballast and keel.
Alasdair Gray (Poor Things)
In a dog’s life, some plaster would fall, some cushions would open, some rugs would shred. Like any relationship, this one had its costs. They were costs we came to accept and balance against the joy and amusement and protection and companionship he gave us. We could have bought a small yacht with what we spent on our dog and all the things he destroyed. Then again, how many yachts wait by the door all day for your return? How many live for the moment they can climb in your lap or ride down the hill with you on a toboggan, licking your face?
John Grogan (Marley & Me: Life and Love with the World's Worst Dog)
My smile froze, remembering the beating I let him give me last year, because I knew I deserved it. I’d knelt there, letting him hit me again and again, because I wanted to feel worse on the outside than I did on the inside, and for so many moments, I just wanted him to kill me. Just kill me, because I can’t take it back, and I can’t move on. I’d almost killed him. And I wanted him to hate me so hard he would fucking murder me, and then maybe, after his anger was spent, he’d love me again. Whether I lived or died, he needed to forgive me for standing by and letting Michael’s brother do what he did on that yacht that night.
Penelope Douglas (Kill Switch (Devil's Night, #3))
Sometimes, when I'm feeling sorry for myself, it seems that I'm made to carry an impossibly heavy weight, the crushing weight of losing her. I have moments of bitterness and doubt. You know? But the weight is a blessing, really, and I shouldn't be bitter about it. The weight is on my heart because I knew her and loved her. The weight is the accumulation of all we had together, all the hopes and worries, all the laughs, the picnics at St. Bart's bell tower, the adventures we shared because of my gift... If they had taken her away on their yacht, if I had never met her, there would be no weight to carry—and no memories to sustain me.
Dean Koontz (Saint Odd (Odd Thomas, #7))
Mr. Severin, may I ask something personal?" "Of course." "Why did you offer to be my oyster?" A hot blush climbed her face. "Is it because I'm pretty?" His head lifted. "Partly," he admitted without a hint of shame. "But I also liked what you said- that you never nag or slam doors, and you're not looking for love. I'm not either." He paused, his vibrant gaze holding hers. "I think we would be a good match." "I didn't mean I don't want love," Cassandra protested. "I only meant I'd be willing to let love grow in time. To be clear, I want a husband who could also love me back." Mr. Severin took his time about replying. "What if you had a husband who, although not handsome, was not altogether bad-looking and happened to be very rich? What if he were kind and considerate, and gave you whatever you asked for- mansions, jewels, trips abroad, your own private yacht and luxury railway carriage? What if he were exceptionally good at..." He paused, appearing to think better of what he'd been about to say. "What if he were your protector and friend? Would it really matter so much if he couldn't love you?" "Why couldn't he?" Cassandra asked, intrigued and perturbed. "Is he missing a heart altogether?" "No, he has one, but it's never worked that way.
Lisa Kleypas (Chasing Cassandra (The Ravenels, #6))
The pump was connected to nothing. And sadly, neither was the man. For his wife did not love him. His children did not miss him. The town did not erect a statue in his honor. All the myths he believed in would crystallize into even greater mythology in future years and become weapons of war used by politicians and evildoers to kill defenseless schoolchildren by the dozens so that a few rich men spouting the same mythology that Doc spouted could buy islands that held more riches than the town of Pottstown had or would ever have. Gigantic yachts that would sail the world and pollute the waters and skies, owned by men creating great companies that made weapons of great power in factories that employed the poor, weapons that were sold cheaply enough so that the poor could purchase them and kill one another. Any man could buy one and walk into schools and bring death to dozens of children and teachers and anyone else stupid enough to believe in all that American mythology of hope, freedom, equality, and justice.
James McBride (The Heaven & Earth Grocery Store)
I didn’t sneer!” said Juliana hastily. “I’d no notion you behaved so dreadfully badly to her. You said you forced her aboard your yacht, but I never supposed that you really frightened her enough to make her fire at you. You need not be in a rage with me for saying so, Dominic, but when I saw Mary at your house she was so placid I made sure you’d not treated her so very brutally after all. Had you?” “Yes,” said Vidal bluntly. He looked at Juliana. “You think it was vastly romantic for Mary to be carried off by me, don’t you? You think you would enjoy it, and you cannot conceive how she should be afraid, can you? Then think, my girl! Think a little! You are in my power at this moment, I may remind you. What if I make you feel it? What if I say to start with that you shall eat your dinner, and force it down your throat?” Juliana shrank back from him involuntarily. “Don’t, Vidal! Don’t come near me!” she said, frightened by the expression in his face. He laughed. “Not so romantic, is it, Ju? And to force you to eat your dinner would be a small thing compared with some other things I might force you to do. Sit down, I’m not going to touch you.” She obeyed, eyeing him nervously. “I—I wish I hadn’t come with you!” she said. “So did Mary, with more reason. But Mary would have died sooner than let me see that she was afraid. And Mary, my love, is not my cousin.
Georgette Heyer (Devil's Cub (Alastair-Audley, #2))
There's one big difference between the poor and the rich,' Kite says, taking a drag from his cigarette. We are in a pub, at lunch-time. John Kite is always, unless stated otherwise, smoking a fag, in a pub, at lunch-time. 'The rich aren't evil, as so many of my brothers would tell you. I've known rich people -- I have played on their yachts -- and they are not unkind, or malign, and they do not hate the poor, as many would tell you. And they are not stupid -- or at least, not any more than the poor are. Much as I find amusing the idea of a ruling class of honking toffs, unable to put their socks on without Nanny helping them, it is not true. They build banks, and broker deals, and formulate policy, all with perfect competency. 'No -- the big difference between the rich and the poor is that the rich are blithe. They believe nothing can ever really be so bad, They are born with the lovely, velvety coating of blitheness -- like lanugo, on a baby -- and it is never rubbed off by a bill that can't be paid; a child that can't be educated; a home that must be left for a hostel, when the rent becomes too much. 'Their lives are the same for generations. There is no social upheaval that will really affect them. If you're comfortably middle-class, what's the worst a government policy could do? Ever? Tax you at 90 per cent and leave your bins, unemptied, on the pavement. But you and everyone you know will continue to drink wine -- but maybe cheaper -- go on holiday -- but somewhere nearer -- and pay off your mortgage -- although maybe later. 'Consider, now, then, the poor. What's the worst a government policy can do to them? It can cancel their operation, with no recourse to private care. It can run down their school -- with no escape route to a prep. It can have you out of your house and into a B&B by the end of the year. When the middle-classes get passionate about politics, they're arguing about their treats -- their tax breaks and their investments. When the poor get passionate about politics, they're fighting for their lives. 'Politics will always mean more to the poor. Always. That's why we strike and march, and despair when our young say they won't vote. That's why the poor are seen as more vital, and animalistic. No classical music for us -- no walking around National Trust properties, or buying reclaimed flooring. We don't have nostalgia. We don't do yesterday. We can't bear it. We don't want to be reminded of our past, because it was awful; dying in mines, and slums, without literacy, or the vote. Without dignity. It was all so desperate, then. That's why the present and the future is for the poor -- that's the place in time for us: surviving now, hoping for better, later. We live now -- for our instant, hot, fast treats, to prep us up: sugar, a cigarette, a new fast song on the radio. 'You must never, never forget, when you talk to someone poor, that it takes ten times the effort to get anywhere from a bad postcode, It's a miracle when someone from a bad postcode gets anywhere, son. A miracle they do anything at all.
Caitlin Moran (How to Build a Girl (How to Build a Girl, #1))
Employment in the Small Bookstore" Twelve Poems, 1975 The dust is almost motionless in this narrowness, this stillness, yet how unlike a coffin it is, sometimes letting a live one in, sometimes out and the air, though paused, impends not a thing, the silence isn't sinister, and in fact not much goes on at the Ariel Book Shop today, no one weeps in the back room full of books, old books, no one is tearing the books to shreds, in fact I am merely sitting here talking to no one, no one being here, and I am blameless, More, I am grateful for the job, I am fond of the books and touch them, I am grateful that King St. goes down to the river, and that the rain is lovely, the afternoon green. If the soft falling away of the afternoon is all there is, it is nearly enough, just let me hear the beautiful clear voice of a woman in song passing toward silence, and then that will be all for me at five o'clock I will walk down to see the untended sailing yachts of the Potomac bobbing hopelessly in another silence, the small silence that gets to be a long one when the past stops talking to you because it is dead, and still you listen, hearing just the tiny agonies of old boats on a cloudy day, in cloudy water. Talk to it. Men are talking to it by Cape Charles, for them it's the same silence with fishing lines in their hands. We are all looking at the river bearing the wreckage so far away. We wonder how the river ever came to be so grey, and think that once there were some very big doings on this river, and now that is all over.
Denis Johnson (The Throne of the Third Heaven of the Nations Millennium General Assembly)