Your Pavement Quotes

We've searched our database for all the quotes and captions related to Your Pavement. Here they are! All 200 of them:

Every time I go back to Rome, I go back to that one spot. It is still alive for me, still resounds with something totally present, as though a heart stolen from a tale by Poe still throbbed under the ancient slate pavement to remind me that, here, I had finally encountered the life that was right for me but had failed to have.
André Aciman (Call Me by Your Name)
You're assuming they would listen to me," I said. Cole lifted his hands off the roof of the Volkswagen; cloudy fingerprints evaporated seconds ater he did. "We all listen to you, Sam." He jumped to the pavement. "You just don't always talk to us.
Maggie Stiefvater (Forever (The Wolves of Mercy Falls, #3))
Your God person puts an apple tree in the middle of a garden and says, do what you like, guys, oh, but don't eat the apple. Surprise surprise, they eat it and he leaps out from behind a bush shouting "Gotcha". It wouldn't have made any difference if they hadn't eaten it.' 'Why not?' 'Because if you're dealing with somebody who has the sort of mentality which likes leaving hats on the pavement with bricks under them you know perfectly well they won't give up. They'll get you in the end.
Douglas Adams (The Restaurant at the End of the Universe (Hitchhiker's Guide to the Galaxy, #2))
Your father is only your father until one of you forgets. Like how the spine won't remember its wings no matter how many times our knees kiss the pavement. Ocean, are you listening? The most beautiful part of your body is wherever your mother's shadow falls.
Ocean Vuong (Night Sky with Exit Wounds)
Aw, boss.” The redcap who was spit on smiled at me and licked his fangs. “Can’t we chew on the princess, just a little?” One-Eyed Jack slapped the offending faery upside the head without looking at him. “Idiot,” he snapped. “I have no desire to pick your frozen guts off the pavement. Now move, you stupid lot. Before I lose my temper.
Julie Kagawa (The Iron Queen (The Iron Fey, #3))
The thought does cross my mind that I could slip and end up cracking my head on the pavement just short of the pool, but if you're always going to worry about minor drawbacks, then you'll never accomplish anything.
Tim Tharp (The Spectacular Now)
You’re like that single wild flower that grows from the crack in the pavement: miraculous growth with no water source or fertile soil. A person walking by would step around that flower to avoid crushing it. It’s not like the field of wild flowers you tromp through carelessly, crushing them under your feet, knowing that the next day will bring a hundred more.
J.B. Salsbury (Fighting for Flight (Fighting, #1))
Do you believe in spirits? Or ghosts?...Yes, I do. I believe in ghosts....They're the ones who haunt us. The ones who have left us behind." "Vivian has come back to the idea that the people who matter in our lives stay with us, haunting our ordinary moments. They're with us in the grocery store, as we turn the corner, chat with a friend. They rise up through the pavement; we absorb them through our soles." "The things that matter stay with you, seep into your skin.
Christina Baker Kline (Orphan Train)
I study her expression, trying to memorize what love looks like, just in case things don’t work out. Apparently, it looks vulnerable, like a dog that’s been hit by a car. Just lying there on the pavement, waiting for you to run into the street and scoop it up in your arms.
Paula Stokes (Liars, Inc.)
Jehovah's Witness are welcomed into my home...You gotta respect anybody who gets all dressed up in Sunday clothes and goes door-to-door on days so hot their high heels sink a half-inch into the pavement. The trick is to do all the talking yourself. Pretty soon, they'll look at their watches and say, 'Speaking of end times, wouldja look at what time it is now!
Celia Rivenbark (Bless Your Heart, Tramp: And Other Southern Endearments)
From p. 40 of Signet Edition of Thomas Wolfe's _You Can't Go Home Again_ (1940): Some things will never change. Some things will always be the same. Lean down your ear upon the earth and listen. The voice of forest water in the night, a woman's laughter in the dark, the clean, hard rattle of raked gravel, the cricketing stitch of midday in hot meadows, the delicate web of children's voices in bright air--these things will never change. The glitter of sunlight on roughened water, the glory of the stars, the innocence of morning, the smell of the sea in harbors, the feathery blur and smoky buddings of young boughs, and something there that comes and goes and never can be captured, the thorn of spring, the sharp and tongueless cry--these things will always be the same. All things belonging to the earth will never change--the leaf, the blade, the flower, the wind that cries and sleeps and wakes again, the trees whose stiff arms clash and tremble in the dark, and the dust of lovers long since buried in the earth--all things proceeding from the earth to seasons, all things that lapse and change and come again upon the earth--these things will always be the same, for they come up from the earth that never changes, they go back into the earth that lasts forever. Only the earth endures, but it endures forever. The tarantula, the adder, and the asp will also never change. Pain and death will always be the same. But under the pavements trembling like a pulse, under the buildings trembling like a cry, under the waste of time, under the hoof of the beast above the broken bones of cities, there will be something growing like a flower, something bursting from the earth again, forever deathless, faithful, coming into life again like April.
Thomas Wolfe (You Can't Go Home Again)
Me? You are laughing at me. Put your hand here. This has no theology.' I mocked myself while I made love. I flung myself into pleasure like a suicide on to a pavement.
Graham Greene (The Comedians)
The basic scam in the Internet age is pretty easy even for the financially illiterate to grasp. It was as if banks like Goldman were wrapping ribbons around watermelons, tossing them out fiftieth-story windows, and opening the phones for bids. In this game you were a winner only if you took your money out before the melon hit the pavement.
Matt Taibbi (Griftopia: Bubble Machines, Vampire Squids, and the Long Con That Is Breaking America)
Sure all life's highways at some point must end, so I plan to ride it in style and plummet in a swan dive when the pavement runs out... And hopefully leave behind artistically that which may make other roads an even better ride...
Tom Althouse (The frowny face cow)
As I walked out one evening, Walking down Bristol Street, The crowds upon the pavement Were fields of harvest wheat. And down by the brimming river I heard a lover sing Under an arch of the railway: "Love has no ending. "I'll love you, dear, I'll love you Till China and Africa meet, And the river jumps over the mountain And the salmon sing in the street, "I'll love till the ocean Is folded and hung up to dry And the seven stars go squawking Like geese about the sky. "The years shall run like rabbits, For in my arms I hold The Flower of the Ages, And the first love of the world." But all the clocks in the city Began to whirr and chime: "O let not Time deceive you, You cannot conquer Time. "In the burrows of the Nightmare Where Justice naked is, Time watches from the shadow And coughs when you would kiss. "In headaches and in worry Vaguely life leaks away, And Time will have his fancy Tomorrow or today. "Into many a green valley Drifts the appalling snow; Time breaks the threaded dances And the diver's brilliant bow. "O plunge your hands in water, Plunge them in up to the wrist; Stare, stare in the basin And wonder what you've missed. "The glacier knocks in the cupboard, The desert sighs in the bed, And the crack in the teacup opens A lane to the land of the dead. "Where the beggars raffle the banknotes And the Giant is enchanting to Jack, And the Lily-white Boy is a Roarer, And Jill goes down on her back. "O look, look in the mirror, O look in your distress; Life remains a blessing Although you cannot bless. "O stand, stand at the window As the tears scald and start; You shall love your crooked neighbor With all your crooked heart." It was late, late in the evening, The lovers they were gone; The clocks had ceased their chiming, And the deep river ran on.
W.H. Auden
You can feel people staring: it's like heat that rise from the pavement during summer, like a poker in the small of your back. You don’t have to hear a whisper, either, to know that it’s about you. I use to stand in front of the mirror in the bathroom to see what they are staring at. I wanted to know what made their heads turn, what it was about me that was so incredibly different. At first I couldn’t tell. I mean, I was just me. Then one day. When I looked in the mirror, I understood. I looked into my own eyes and I hated myself, maybe as much as all of them did. That was the day I started to believe they might be right. jodi picoult
Jodi Picoult (Nineteen Minutes)
Take your own route, not the route everyone is using or taking. Create your own way; there is always traffic on the common route.
Israelmore Ayivor (101 Keys To Everyday Passion)
Where is Galen?" She had many questions to ask the king, and it surprised her a little that this should be the first one to pop out of her mouth. Still, it was just as urgent as any of the others. "What have you done to him?" "Nothing." The king spread his weirdly elongated hands in an innocent gesture. "The gardener's boy is in perfect health. For the present." "And then he'll fall off a horse, or slip on the wet pavement? So that you don't need to get your hands dirty?" Rose sneered at him. He smiled his cold smile. "Keeping one's hands clean – maintaining one's innocence. Is that not the human way?
Jessica Day George (Princess of the Midnight Ball (The Princesses of Westfalin Trilogy, #1))
Maria, lonely prostitute on a street of pain, You, at least, hail me and speak to me While a thousand others ignore my face. You offer me an hour of love, And your fees are not as costly as most. You are the madonna of the lonely, The first-born daughter in a world of pain. You do not turn fat men aside, Or trample on the stuttering, shy ones, You are the meadow where desperate men Can find a moment's comfort. Men have paid more to their wives To know a bit of peace And could not walk away without the guilt That masquerades as love. You do not bind them, lovely Maria, you comfort them And bid them return. Your body is more Christian than the Bishop's Whose gloved hand cannot feel the dropping of my blood. Your passion is as genuine as most, Your caring as real! But you, Maria, sacred whore on the endless pavement of pain, You, whose virginity each man may make his own Without paying ought but your fee, You who know nothing of virgin births and immaculate conceptions, You who touch man's flesh and caress a stranger, Who warm his bed to bring his aching skin alive, You make more sense than stock markets and football games Where sad men beg for virility. You offer yourself for a fee--and who offers himself for less? At times you are cruel and demanding--harsh and insensitive, At times you are shrewd and deceptive--grasping and hollow. The wonder is that at times you are gentle and concerned, Warm and loving. You deserve more respect than nuns who hide their sex for eternal love; Your fees are not so high, nor your prejudice so virtuous. You deserve more laurels than the self-pitying mother of many children, And your fee is not as costly as most. Man comes to you when his bed is filled with brass and emptiness, When liquor has dulled his sense enough To know his need of you. He will come in fantasy and despair, Maria, And leave without apologies. He will come in loneliness--and perhaps Leave in loneliness as well. But you give him more than soldiers who win medals and pensions, More than priests who offer absolution And sweet-smelling ritual, More than friends who anticipate his death Or challenge his life, And your fee is not as costly as most. You admit that your love is for a fee, Few women can be as honest. There are monuments to statesmen who gave nothing to anyone Except their hungry ego, Monuments to mothers who turned their children Into starving, anxious bodies, Monuments to Lady Liberty who makes poor men prisoners. I would erect a monument for you-- who give more than most-- And for a meager fee. Among the lonely, you are perhaps the loneliest of all, You come so close to love But it eludes you While proper women march to church and fantasize In the silence of their rooms, While lonely women take their husbands' arms To hold them on life's surface, While chattering women fill their closets with clothes and Their lips with lies, You offer love for a fee--which is not as costly as most-- And remain a lonely prostitute on a street of pain. You are not immoral, little Maria, only tired and afraid, But you are not as hollow as the police who pursue you, The politicians who jail you, the pharisees who scorn you. You give what you promise--take your paltry fee--and Wander on the endless, aching pavements of pain. You know more of universal love than the nations who thrive on war, More than the churches whose dogmas are private vendettas made sacred, More than the tall buildings and sprawling factories Where men wear chains. You are a lonely prostitute who speaks to me as I pass, And I smile at you because I am a lonely man.
James Kavanaugh (There Are Men Too Gentle to Live Among Wolves)
Look, I get it. I’m a white, heterosexual man. It’s really easy for me to say, ‘Oh, wow, wasn’t the nineteenth century terrific?’ But try this. Imagine the scene: It’s pouring rain against a thick window. Outside, on Baker Street, the light from the gas lamps is so weak that it barely reaches the pavement. A fog swirls in the air, and the gas gives it a pale yellow glow. Mystery brews in every darkened corner, in every darkened room. And a man steps out into that dim, foggy world, and he can tell you the story of your life by the cut of your shirtsleeves. He can shine a light into the dimness, with only his intellect and his tobacco smoke to help him. Now. Tell me that’s not awfully romantic?
Graham Moore (The Sherlockian)
Go out there! Sweep a pavement, plant a tree, feed a stray dog. Do something, anything; rather than just using your fingers to tap three keys and destroy 600 people’s brain cells in one shot. 11
Twinkle Khanna (Mrs Funnybones: She's just like You and a lot like Me)
Although Bertha Young was thirty she still had moments like this when she wanted to run instead of walk, to take dancing steps on and off the pavement, to bowl a hoop, to throw something up in the air and catch it again, or to stand still and laugh at - nothing - at nothing, simply. What can you do if you are thirty and, turning the corner of your own street, you are overcome, suddenly by a feeling of bliss - absolute bliss! - as though you'd suddenly swallowed a bright piece of that late afternoon sun and it burned in your bosom, sending out a little shower of sparks into every particle, into every finger and toe?
Katherine Mansfield
All these years, whenever I thought of him, I'd think either of B. or of our last days in Rome, the whole thing leading up to two scenes: the balcony with its attendant agonies and via Santa Maria dell' Anima, where he'd pushed me against the old wall and kissed me and in the end let me put one leg around his. Every time I go back to Rome, I go back to that one spot. It is still alive for me, still resounds with something totally present, as though a heart stolen from a tale by Poe still throbbed under the ancient slate pavement to remind me that, here, I had finally encountered the life that was right for me but had failed to have.
André Aciman (Call Me by Your Name)
Adam’s father just stood there, looking. And they sat there, looking back. Ronan was coiled and simmering, one hand resting on his door. “Don’t,” said Adam. But Ronan merely hit the window button. The tinted glass hissed down. Ronan hooked his elbow on the edge of the door and continued gazing out the window. Adam knew that Ronan was fully aware of how malevolent he could appear, and he did not soften himself as he stared across the patchy dark grass at Robert Parrish. Ronan Lynch’s stare was a snake on the pavement where you wanted to walk. It was a match left on your pillow. It was pressing your lips together and tasting your own blood.
Maggie Stiefvater (The Raven King (The Raven Cycle, #4))
We rode the basement trains all night, speeding through the subterrains. I held her chin in the cup of my hand and her eyes held tight to mine, imploring me to reveal to her the mystery of that which awaits us on the pavement above, come the day we ascend from this labyrinth of trains... 'We will ride these beautiful basement trains forever,' said I, 'nothing awaits us; and as your beauty folds, so do my dreams. Come, my love, let us wander these tunnels of the endless city. This holy, endless city!
Roman Payne (The Basement Trains (a 21st century poem))
There are only two ways to get in and out of an MG Midget sports car – the elegant way or my way. The elegant way is how you see the film stars do it on TV when they arrive at the Oscars. To get in, put your bum inside first and then swivel legs round. Similarly, to exit, swivel legs out, bum last. My way is to get everything but bum in first, leave bum out in the cold for a bit while struggling with other appendages, and then bum can come in. To get out, I simply fall on to the pavement.
Sarah Mason (Playing James)
Let others slap each others on the back while you're back in the lab or the gym or pounding the pavement.
Ryan Holiday (Ego Is the Enemy)
If you can read this, then surprise! You're probably a demigod too. That's because only demigods - and a few special mortals, like my mom and Rachel Elizabeth Dare - can read what's actually written here. To everyone else, this book is called The Complete History of Pavement and it's about ... well, that should be obvious. You can thank the Mist for that choice of topic.
Rick Riordan (Camp Half-Blood Confidential (The Trials of Apollo, #2.5))
Join us. Play the game. It will bring you an untold number of rewards and you will finally have some direction and purpose in your lives. Take control of yourselves and those around you. Bend them to your will and all worldly pleasures will be yours...
Martin Hopkins (Cracks in the Pavement)
The wild. I have drunk it, deep and raw, and heard it's primal, unforgettable roar. We know it in our dreams, when our mind is off the leash, running wild. 'Outwardly, the equivalent of the unconscious is the wilderness: both of these terms meet, one step even further on, as one,' wrote Gary Snyder. 'It is in vain to dream of a wildness distinct from ourselves. There is none such,' wrote Thoreau. 'It is the bog in our brains and bowls, the primitive vigor of Nature in us, that inspires the dream.' And as dreams are essential to the psyche, wildness is to life. We are animal in our blood and in our skin. We were not born for pavements and escalators but for thunder and mud. More. We are animal not only in body but in spirit. Our minds are the minds of wild animals. Artists, who remember their wildness better than most, are animal artists, lifting their heads to sniff a quick wild scent in the air, and they know it unmistakably, they know the tug of wildness to be followed through your life is buckled by that strange and absolute obedience. ('You must have chaos in your soul to give birth to a dancing star,' wrote Nietzsche.) Children know it as magic and timeless play. Shamans of all sorts and inveterate misbehavers know it; those who cannot trammel themselves into a sensible job and life in the suburbs know it. What is wild cannot be bought or sold, borrowed or copied. It is. Unmistakeable, unforgettable, unshamable, elemental as earth and ice, water, fire and air, a quitessence, pure spirit, resolving into no contituents. Don't waste your wildness: it is precious and necessary.
Jay Griffiths (Wild: An Elemental Journey)
Cleanliness is next to godliness, whatever that means. But the trouble with that sort of approach to life is that it never ends. Yes, you can take time to pick the weeds from the pavement outside and scrub your skirting board and make sure there’s no dust collecting in any evil corners but you had to keep on doing it. If I had to do it all this week and then again next week and then the week after that, why not just leave it till next month? Or preferably next year?
Helen Harper (Spirit Witch (The Lazy Girl's Guide To Magic, #3))
It seemed incredible that it could be the same road, the same asphalt, that they had traveled so many times together. You thought that you were the permanent part of your own experience, the net that held it all together—until you discovered that there were many selves, dissolving into one another so quickly over time that the buildings and the trees and even the pavement turned out to have more substance than you did.
Nell Freudenberger (The Newlyweds)
The lady hasn’t lost it yet—the sound of freedom. When she laughs, you can hear the wind in the trees and the splash of water hitting pavement. You can sense the gentle caress of rain on your face and how laughter sounds in the open air, all the things those of us in this dungeon can never feel.
Rene Denfeld (The Enchanted)
It must be murder to be an aging beauty, a former Tadzio, to see your future as an ignored spectator rushing up to meet you like the hard pavement. What a small sip of gall to be able to time with each passing year the ever-shorter interval in which someone's eyes focus upon you. And then shift away.
David Rakoff (Don't Get Too Comfortable: The Indignities of Coach Class, The Torments of Low Thread Count, The Never-Ending Quest for Artisanal Olive Oil, and Other First World Problems)
How can it not exist? What does that—” A tiny grey body shot in front of the Land Rover. “Squirrel!” Mad Rogan swerved to the side, trying to avoid the suicidal beast. The SUV hit a curb and jumped. For a terrifying second, we almost flew, weightless. My heart leaped into my throat. The heavy vehicle landed back on the pavement with a thud. The squirrel leapt into the grass on the other side. I remembered to breathe. “Thank you for not killing the squirrel.” “You’re welcome, although now I want to go back and strangle it.
Ilona Andrews (Burn for Me (Hidden Legacy, #1))
Youth is a gift that goes largely unappreciated by its proprietor. Like a single raindrop falling on hot pavement it evaporates before your eyes and transcends into adulthood. The innocence and energy become merely a file in one’s repository of memories… there its value is priceless and nonrenewable.” RW
Rob Wood
Loving someone isn’t about wanting them to evolve into someone better. My mom taught me that. Real love is saying: here, take my still-beating heart and hold it in your hands and please, please, please, promise not to squeeze too tight or drop it on the pavement. Love is being naked and afraid, but refusing to flinch.
Julie Johnson (Cross the Line (Boston Love, #2))
Men often do that, spreading out their legs on the Tube as though they have an innate need to fill any space that isn't filled, walking down the middle of the narrow pavement and being almost surprised when they career into you, nudging too close in a coffee shop queue as though you'll give way. They don't even notice what they're doing. They are important, their needs are important. You are not as important. You are not important at all. Unless you're attractive to them. Then your space will be occupied in other ways. Men will stand in front of you and block your path to get your attention. They will slow their car down so that you feel uncomfortable as you walk down the street. They will hover over you in bars, touching your arm, grabbing your hand. If you're lucky, it'll just be your hand.
Bella Mackie (How to Kill Your Family)
If you don’t teach that dog to sit, she’s going to die!” said the tall bearded man in blue jeans standing next to me. He pointed at the ground, bent down to get in Belvy’s face, and bellowed at her, “SIT!!” To my astonishment, Belvy sat. She didn’t just sit, she pounded her butt into the pavement, and looked up at the man wagging her tail. The man was in my face now. “See? It’s not mean, it’s clear.” The light changed, and the man strode across the street, leaving me with words to live by.
Kim Malone Scott (Radical Candor: Be a Kickass Boss Without Losing Your Humanity)
You’re a different person if you’ve been warmed by open fires rather than by central heating as a child, if you’ve climbed trees instead of cycling on the pavement with a helmet on, if you’ve played outside rather than sitting in front of the television.
Nina George (The Little Paris Bookshop)
So you have chosen aloneness. You have chosen the security and the relative freedom of solitude, because there is no risk involved. You can stay up every night and watch your TV shows and eat ice cream out of the box and scroll through your Tumblr and never let your brain sit still, not even for a moment. You can fill your days up with books and coffees and trips to the store where you forget what you wanted the second you walk in the automatic sliding door. You can do so many little, pointless things throughout the day that all you can think of is how badly you want to sleep, how heavy your whole body is, how much your feet hurt. You can wear yourself out again and again on the pavement, and you do, and it feels good. No one will ever bridge that gap and point to your stomach or your hair or your eyes in the mirror and magically make you see the wonderful things about getting to be next to you. And maybe that’s it, after all, this fear that no one will ever truly feel about you the way you want to be felt about. Maybe what you want is someone to make you love yourself, to put sense into all that positive rhetoric, to make it so the aloneness of TV and blasting music in your ears at all times isn’t the most happy place you can think of. Maybe you want someone who makes you so sure of how wonderful things are that you cannot help but to tell them your feelings first, even at the risk of being humiliated. Because you will know that, when you’re telling them you love them, what you’re really saying is “I love who I become when I am with you.
Chelsea Fagan
The most rebellious thing you can do is get educated. Forget what they told you in school. Get educated! I ain’t saying play by the rules. Get educated! Get educated! Get educated! Break the chains of their enslavement. Get educated! Even if you’re on the pavement. Get educated! What a weapon that your brain is. Get educated! Get educated! Get educated!”   AKALA
Joss Sheldon (The Little Voice)
Do you believe that you will die? Yes man is mortal I am a man ergo... no that isn't what I mean. I know that you know that. What I am asking is, have you ever actually believed it? Believed it completely? Believed not with your mind but with your body? Actually felt that one the fingers now holding this very piece of paper will be icy and yellow? No, of course you don't believe it. Which is the reason why up until now you haven't jumped from the tenth floor to the pavement.
Yevgeny Zamyatin (We)
You can feel people staring; it’s like heat that rises from the pavement during summer, like a poker in the small of your back. You don’t have to hear a whisper, either, to know that it’s about you.
Jodi Picoult (Nineteen Minutes)
Dreams and coffee and sunrises make up the rhythms of the road. Music is a part of it, too: the popular music on the jukeboxes and radio stations. You hear it constantly, in diners and on car radios. The music has a rhythm that fits the steady drumming of tires over pavement. It seeps into your bloodstream. After a while it ceases to make any difference whether or not you like the stuff. When you’re traveling alone, a nameless rider with a succession of strangers, it can give you a comforting sense of the familiar to hear the same music over and over. At any given time, a few current hits will be overplayed to exhaustion by the rock & roll stations. In hitching across the continent, you might hear the same song fifty or sixty times. Certain songs become connected in your mind with certain trips.
Kenn Kaufman (Kingbird Highway: The Biggest Year in the Life of an Extreme Birder)
the pavement makes no sound as it touches your feet calm and constant like silence on repeat languidly your thoughts bleed into the evening air in crimson red the words read 'some things are beyond repair
Anna Jae
SAITO: Care for a lift, Mr. Cobb? COBB: (jumping in) What brings you to Mombasa, Mr. Saito? SAITO: I have to protect my investment. Eames stands on pavement. The car pulls up. Cobb beckons from the rear window. Eames looks at Saito. Back to Cobb. EAMES: This your idea of losing a tail? COBB: (shrugs) Different tail.
Christopher J. Nolan (Inception: The Shooting Script)
Oxford was as drenched in Dixie as we were, just about as Southern a town as you would ever hope to find, which generally was a good thing, because that meant that the weather was nice, except when it was hot enough to fry pork chops on the pavement, and the food was delicious, though it would thicken the walls of your arteries and kill you deader than Stonewall Jackson, and the people were big hearted and friendly, though it was not the hardest place in the world to get murdered for having bad manners. Even our main crop could kill you.
Timothy B. Tyson (Blood Done Sign My Name: A True Story)
Clinical depression: The print your behind makes on the doctor’s examination table. Derange: Kitchen appliance. Usually sits right next to de fridge. Bonding: What chewing gum does between your shoe and the pavement. Repressing: What you’ll be doing to your pants after a thirteen-hour car trip. Healing process: Teaching your dog to walk beside you.2
Barbara Johnson (I'm So Glad You Told Me What I Didn't Wanna Hear)
Coconut,” I say. “You always smell coconut-y.” Then, because it’s dark in the van, and because I’m wiped out from all the panic and my guard is down, I add, “You always smell good.” “Sex Wax.” “What?” I sit up a little straighter. He reaches down to the floorboard and tosses me what looks like a plastic-wrapped bar of soap. I hold it up to the window to see the label in the streetlight. “Mr. Zog’s Sex Wax,” I read. “You rub it on the deck of your board,” he explains. “For traction. You know, so you don’t slip off while you’re surfing.” I sniff it. That’s the stuff, all right. “I bet your feet smell heavenly.” “You don’t have a foot fetish thing, do you?” he asks, voice playful. “I didn’t before, but now? Who knows.” The tires of the van veer off the road onto the gravelly shoulder, and he cuts the wheel sharply to steer back onto the pavement. “Oops.” We chuckle, both embarrassed. I toss the wax onto the floorboard. “Well, another mystery solved
Jenn Bennett (Alex, Approximately)
I felt that the magical people must be in the hidden back roads and dusty cubby holes of life; on highways, in hostels, and in shabby, smoky cafes. These enchanting people are in trees, around fires and under hand-knit hats and street lamps reflecting gold on rain soaked pavement. They dance while others dangle; they vibrantly sing the songs that get jumbled and stuck in the subconscious of others who only wish to catch tune. They are the rare ones whose uncommon experiences touch your heart through just a wink of their eye, the stories stitched in the holes of their shoes, invoking a longing for the unknown, taking others to a place of missing what they've never even had -- they do not settle, they do not compromise.
Jackie Haze (Borderless)
He thinks, if you were born in Putney, you saw the river every day, and imagined it widening out to the sea. Even if you had never seen the ocean you had a picture of it in your head from what you had been told by foreign people who sometimes came upriver. You knew that one day you would go out into a world of marble pavements and peacocks, of hillsides buzzing with heat, the fragrance of crushed herbs rising around you as you walked. You planned for what your journeys would bring you: the touch of warm terra-cotta, the night sky of another climate, alien flowers, the stone-eyed gaze of other people’s saints. But if you were born in Aslockton, in flat fields under a wide sky, you might just be able to imagine Cambridge: no farther.
Hilary Mantel (Wolf Hall (Thomas Cromwell, #1))
At one point I was climbing off the bus and I bumped into a woman in a crisp black blazer and pointy, witchy shoes. She had a bulky cell phone pressed against her ear and a black bag with gold Prada lettering hooked around her wrist. I was a long ways off from worshiping at the Céline, Chloé, or Goyard thrones, but I certainly recognized Prada. “Sorry,” I said, and took a step away from her. She nodded at me briskly but never stopped speaking into her phone, “The samples need to be there by Friday.” As her heels snapped away on the pavement, I thought, There is no way that woman can ever get hurt. She had more important things to worry about than whether or not she would have to eat lunch alone. The samples had to arrive by Friday. And as I thought about all the other things that must make up her busy, important life, the cocktail parties and the sessions with the personal trainer and the shopping for crisp, Egyptian cotton sheets, there it started, my concrete and skyscraper wanderlust. I saw how there was a protection in success, and success was defined by threatening the minion on the other end of a cell phone, expensive pumps terrorizing the city, people stepping out of your way simply because you looked like you had more important places to be than they did. Somewhere along the way, a man got tangled up in this definition too. I just had to get to that, I decided, and no one could hurt me again.
Jessica Knoll (Luckiest Girl Alive)
Fitz called after him, "We'll see how far you get without me. Enjoy it Aidan, your nosedive to the discount rack, playing second-rate concert halls, being yesterday's news. That's all this will get you--that and your Catswallow trailer park bride." An old temper surged through Aidan, moving angrily at him. "Aidan, don't!" she shouted. Grabbing a shoulder, Aidan spun him about, landing a solid punch to his jaw, knocking the record-producing mogul onto the pavement. "Get it straight," he said, jerking his lapel. "She's from New Jersey.
Laura Spinella (Perfect Timing)
Since most callers have until moments before been completely unaware that there are bears in New Jersey, there is often in their voices a component of alarm, up to and including terror. McConnell’s response is calmer than pavement. She speaks in tones that range from ho to hum. “Yes, there are bears in your area,” she says, and goes on to say, with an added hint of congratulation, “You live in beautiful bear habitat.
John McPhee (Table of Contents)
Ask for what you want. Always. Not just with me. If, in the future, a guy ever thinks you’re weird or throws shade at you for doing that, then you drop his ass on the hot pavement. Sex can be fun. It can be hot. It can be kinky or serious. It can be a lot of things. But what it should always be is a safe zone to explore what each person likes. If everyone is consenting and it’s legal, there really are no limits beyond that. Just be you.
Roni Loren (Yes & I Love You (Say Everything, #1))
We Were Lonely My Valentine. along a pavement of loneliness you towards me and I towards you unknown celestial bodies eclipse at night we pass and our gravity of loneliness brings us together so close to touch but not close enough your presence draws my heart and I feel you can’t pull away from gravity we stargaze our loneliness orbits and companionship to fill the black void we touch and our solitude evaporates into the stratosphere and the night is secluded I take you as a lover and you take me as yours we enter the expanding universe at its core the night to linger in our arms we feel humanity as humans share we need each other as strangers share we feel included and wanted for one night only we are true lovers one last kiss my valentine celestial bodies continue on their extraterrestrial journeys as I walk in the breaking dawn along the pavement of loneliness I know loneliness can be confined
R.M. Romarney
Okay, I'm sorry for not turning up yesterday." His feet pounded against the pavement as he ran to catch up with me. "Don't be mad. Even though you're sexy as hell when you are." He grabbed my arm, pulling me to a stop. "Don't touch me," I shouted. "Just leave me alone. Wherever I go, there you are being creepy and pervy. I'm sick of this, Marshall. And, you know what? I don't give a shit about your secrets. Keep them. I hope they make you feel all warm and snugly at night.
C. Gray (My Heart Be Damned)
I study her expression, trying to memorize what love looks like, just in case things don’t work out. Apparently, it looks vulnerable, like a dog that’s been hit by a car. Just lying there on the pavement, waiting for you to run into the street and scoop it up in your arms. I think I would run into the street for her.
Paula Stokes (Liars, Inc.)
Time hath, my lord, a wallet at his back, Wherein he puts alms for oblivion, A great-sized monster of ingratitudes: Those scraps are good deeds past; which are devour'd As fast as they are made, forgot as soon As done: perseverance, dear my lord, Keeps honour bright: to have done is to hang Quite out of fashion, like a rusty mail In monumental mockery. Take the instant way; For honour travels in a strait so narrow, Where one but goes abreast: keep then the path; For emulation hath a thousand sons That one by one pursue: if you give way, Or hedge aside from the direct forthright, Like to an enter'd tide, they all rush by And leave you hindmost; Or like a gallant horse fall'n in first rank, Lie there for pavement to the abject rear, O'er-run and trampled on: then what they do in present, Though less than yours in past, must o'ertop yours; For time is like a fashionable host That slightly shakes his parting guest by the hand, And with his arms outstretch'd, as he would fly, Grasps in the comer: welcome ever smiles, And farewell goes out sighing. O, let not virtue seek Remuneration for the thing it was; For beauty, wit, High birth, vigour of bone, desert in service, Love, friendship, charity, are subjects all To envious and calumniating time.
William Shakespeare (Troilus and Cressida)
It’s funny, isn’t it?” you started quietly. “How you look up there and find a city, and I look at London and see a landscape?” I frowned, glancing back at you. “What do you mean ‘landscape’?” “Just everything underneath, I guess.” You rubbed your fingers against your beard, thinking. “All that earth and life, always just under the concrete, ready to push back through the pavement and take over the city at any time. All that life beneath the dead.” “London’s more than just a pile of concrete,” I said. “Maybe.” Your eyes glinted in the dark. “But without humans, the wild would take over. It would only need a hundred years or so for nature to win again. We’re just temporary, really.
Lucy Christopher (Stolen (Stolen, #1))
Growing up is about the moment of realising that the cracks in the pavement are nothing to worry about. It's the cracks on your insides that count.
Sarah Pinborough (The Language of Dying)
The notion of “long-term greedy” vanished into thin air as the game became about getting your check before the melon hit the pavement.
Matt Taibbi (Griftopia: Bubble Machines, Vampire Squids, and the Long Con That Is Breaking America)
How long are you going to wait for this guy?” I’m thrown by his sudden shift. “Ah . . . I don’t know.” “Give me your keys.” “What?” “Give me your keys. I’m going to change your tire while we’re waiting.” I fish in my purse and come up with a handful of keys. “You’re going to—” “Stay in the car.” He grabs the keys and practically yanks them out of my fingers. Then he slams the door in my face. I watch him in the path of his headlights, mystified. He opens my trunk, and, moments later, emerges with the spare tire. He lays it beside the car, then pulls something else from the darkened space. I’ve never changed a tire, so I have no idea what he’s doing. His movements are quick and efficient, though. I shouldn’t be sitting here, just watching, but I can’t help myself. There’s something compelling about him. Dozens of cars have passed, but he was the only one to stop—and he’s helping me despite the fact that I’ve been less than kind to him all night. He gets down on the pavement—on the wet pavement, in the rain—and slides something under the car. A hand brushes wet hair off his face. I can’t sit here and watch him do this. He doesn’t look at me when I approach. “I told you to wait in the car.” “So you’re one of those guys? Thinks the ‘little woman’ should wait in the car?” “When the little woman doesn’t know her tires are bald and her battery could barely power a stopwatch?” He attaches a steel bar to . . . something . . . and starts twisting it. “Yeah. I am.” My pride flinches. “So what are you saying?” I ask, deadpan. “You don’t want my help?” His smile is rueful. “You’re kind of funny when you’re not so busy being judgmental.” “You’re lucky I’m not kicking you while you’re down there.” He loses the smile but keeps his eyes on whatever he’s doing. “Try it, sister.
Brigid Kemmerer (Letters to the Lost (Letters to the Lost, #1))
The color black has to work harder than any other color, but if people look closely, most of the time, you can see your reflection in the color black. When it rains, the black pavement on the streets has a glare of the lights, and if you look down, you will be able to see your shiny reflection. However, many people ignore their own reflection but are so quick to judge others.
Charlena E. Jackson (The Stars Choose Our Lovers)
[H]alf blinded you embraced your own body, and with the warmth still under your jacket, you walked up the pavement along the square, moving through the grey light, and let your thoughts seep softly in, undisturbed, on the way up to the station, but also walking as one of many in the chill of December. I liked the feeling being a we, being more than myself, being larger than myself, being surrounded by others in a way I had never experienced before, of belonging, and it made no difference if those who walked to the left or the right of me, in front or behind me on this street, did not share the same feeling.
Per Petterson (I Curse the River of Time)
Stop and think. Who is your nemesis? Even the most popular, confident, put-together adult can call to mind that one girl who made her feel inadequate. She'll get hers, you said to yourself, praying that it was true as she walked away from you, leaving you feeling like roadkill to be scraped off the pavement. Well, fill in the blanks ladies 'cause today, I promise, she will get hers. Today the road-killer becomes roadkill.
Jane L. Rosen (Nine Women, One Dress)
To remember, for instance, that here just a year ago, just at this time, at this hour, on this pavement, I wandered just as lonely, just as dejected as to-day. And one remembers that then one’s dreams were sad, and though the past was no better one feels as though it had somehow been better, and that life was more peaceful, that one was free from the black thoughts that haunt one now; that one was free from the gnawing of conscience — the gloomy, sullen gnawing which now gives me no rest by day or by night. And one asks oneself where are one’s dreams. And one shakes one’s head and says how rapidly the years fly by! And again one asks oneself what has one done with one’s years. Where have you buried your best days? Have you lived or not? Look, one says to oneself, look how cold the world is growing. Some more years will pass, and after them will come gloomy solitude; then will come old age trembling on its crutch, and after it misery and desolation. Your fantastic world will grow pale, your dreams will fade and die and will fall like the yellow leaves from the trees. . . . Oh, Nastenka! you know it will be sad to be left alone, utterly alone, and to have not even anything to regret — nothing, absolutely nothing . . . for all that you have lost, all that, all was nothing, stupid, simple nullity, there has been nothing but dreams!
Fyodor Dostoevsky (White Nights)
- I’ve never been so sick of RACE in my life. Every group with its rights and grievances, its mathematically precise litany of what has been denied, what should have been granted long ago, what must be restored and redressed. Even everyday WASPS compete now. Because their sense of being dispossessed, displaced, bullied, has in an amazingly short time become as acute, as outraged, as righteous as that of the groups they managed and mangled for so long. - This is my dream. Eradicate them all. Then fix your hair, and put your hands in your muff as your heels go clip clip clip across the pavement. - May I help you, ma’am? - Thank your, sir, I’ve just murdered quite a few people and I need a taxi.
Margo Jefferson (Negroland)
Poetry Poetry, How did you find your way to me? My mother does not know Albanian well, She writes letters like Aragon, without commas and periods, My father roamed the seas in his youth, But you have come, Walking down the pavement of my quiet city of stone, And knocked timidly at the door of my three-storey house, At Number 16. There are many things I have loved and hated in life, For many a problem I have been an 'open city', But anyway... Like a young man returning home late at night, Exhausted and broken by his nocturnal wanderings, Here too am I, returning to you, Worn out after another escapade. And you, Not holding my infidelity against me, Stroke my hair tenderly, My last stop, Poetry.
Ismail Kadare
Tom looked at St. Vincent. “I assume the editor at the Chronicle refused to divulge the writer’s identity?” St. Vincent looked rueful. “Categorically. I’ll have to find a way to pry it out of him without bringing the entire British press to his defense.” “Yes,” Tom mused, tapping his lower lip with a fingertip, “they tend to be so touchy about protecting their sources.” “Trenear,” Lord Ripon said through gritted teeth, “will you kindly throw him out?” “I’ll see myself out,” Tom said casually. He turned as if to leave, and paused as if something had just occurred to him. “Although … as your friend, Trenear, I find it disappointing that you haven’t asked about my day. It makes me feel as if you don’t care.” Before Devon could respond, Pandora jumped in. “I will,” she volunteered eagerly. “How was your day, Mr. Severin?” Tom sent her a brief grin. “Busy. After six tedious hours of business negotiations, I paid a call to the chief editor of the London Chronicle.” St. Vincent lifted his brows. “After I’d already met with him?” Trying to look repentant, Tom replied, “I know you said not to. But I had a bit of leverage you didn’t.” “Oh?” “I told him the paper’s owner would dismiss him and toss him out on the pavement if he didn’t name the anonymous writer.” St. Vincent stared at him quizzically. “You bluffed?” “No, that is what the business negotiations were about. I’m the new owner. And while the chief editor happens to be a staunch advocate for freedom of the press, he’s also a staunch supporter of not losing his job.” “You just bought the London Chronicle,” Devon said slowly, to make certain he hadn’t misheard. “Today.” “No one could do that in less than a day,” Ripon sneered. Winterborne smiled slightly. “He could,” he said, with a nod toward Tom. “I did,” Tom confirmed, picking idly at a bit of lint on his cuff. “All it took was a preliminary purchase agreement and some earnest money.
Lisa Kleypas (Chasing Cassandra (The Ravenels, #6))
Once we stop wishing it were summer, winter can be a glorious season when the world takes on a sparse beauty and even the pavements sparkle. It’s a time for reflection and recuperation, for slow replenishment, for putting your house in order.
Katherine May (Wintering: The Power of Rest and Retreat in Difficult Times)
Let the others slap each other on the back while you’re back in the lab or the gym or pounding the pavement. Plug that hole—that one, right in the middle of your face—that can drain you of your vital life force. Watch what happens. Watch how much better you get.
Ryan Holiday (Ego Is the Enemy)
It is still alive for me, still resounds with something totally present, as though a heart stolen from a tale by Poe still throbbed under the ancient slate pavement to remind me that, here, I had finally encountered the life that was right for me but had failed to have.
André Aciman (Call Me By Your Name)
This young woman,” said Diana, “was responsible for the destruction of the Triumvirate’s fleet.” “Well, I had a lot of help,” Lavinia said. “I don’t understand,” I said, turning to Lavinia. “You made all those mortars malfunction?” Lavinia looked offended. “Well, yeah. Somebody had to stop the fleet. I did pay attention during siege-weapon class and ship-boarding class. It wasn’t that hard. All it took was a little fancy footwork.” Hazel finally managed to pick her jaw off the pavement. “Wasn’t that hard?” “We were motivated! The fauns and dryads did great.” She paused, her expression momentarily clouding, as if she remembered something unpleasant. “Um…besides, the Nereids helped a lot. There was only a skeleton crew aboard each yacht. Not, like, actual skeletons, but—you know what I mean. Also, look!” She pointed proudly at her feet, which were now adorned with the shoes of Terpsichore from Caligula’s private collection. “You mounted an amphibious assault on an enemy fleet,” I said, “for a pair of shoes.” Lavinia huffed. “Not just for the shoes, obviously.” She tap-danced a routine that would’ve made Savion Glover proud. “Also to save the camp, and the nature spirits, and Michael Kahale’s commandos.” Hazel held up her hands to stop the overflow of information. “Wait. Not to be a killjoy—I mean, you did an amazing thing!—but you still deserted your post, Lavinia. I certainly didn’t give you permission —” “I was acting on praetor’s orders,” Lavinia said haughtily. “In fact, Reyna helped. She was knocked out for a while, healing, but she woke up in time to instill us with the power of Bellona, right before we boarded those ships. Made us all strong and stealthy and stuff.” Hazel asked, “Is it true about Lavinia acting on your orders?” Reyna glanced at our pink-haired friend. The praetor’s pained expression said something like, I respect you a lot, but I also hate you for being right. “Yes,” Reyna managed to say. “Plan L was my idea. Lavinia and her friends acted on my orders. They performed heroically.” Lavinia beamed. “See? I told you.” The assembled crowd murmured in amazement, as if, after a day full of wonders, they had finally witnessed something that could not be explained.
Rick Riordan (The Tyrant’s Tomb (The Trials of Apollo, #4))
Everything belonged to him--but that was a trifle. The thing was to know what he belonged to, how many powers of darkness claimed him for their own. That was the reflection that made you creepy all over. It was impossible--it was not good for one either--trying to imagine. He had taken a high seat amongst the devils of the land--I mean literally. You can't understand. How could you?--with solid pavement under your feet, surrounded by kind neighbors ready to cheer you or to fall on you, stepping delicately between the butcher and the policeman, in the holy terror of scandal and gallows and lunatic asylums--how can you imagine what particular region of the first ages a man's untrammeled feet may take him into by the way of solitude--utter solitude without a policeman--by the way of silence, utter silence, where no warning voice of a kind neighbor can be heard whispering of public opinion? These little things make all the great difference. When they are gone you must fall back upon your own innate strength, upon your own capacity for faithfulness. Of course you may be too much of a fool to go wrong--too dull even to know you are being assaulted by the powers of darkness. I take it, no fool ever made a bargain for his soul with the devil: the fool is too much of a fool, or the devil too much of a devil--I don't know which. Or you may be such a thunderingly exalted creature as to be altogether deaf and blind to anything but heavenly sights and sounds. Then the earth for you is only a standing place -- and whether to be like this is your loss or your gain I won't pretend to say. But most of us are neither one nor the other. The earth for us is a place to live in, where we must put up with sights, with sounds, with smells too, by Jove!-- breathe dead hippo, so to speak, and not be contaminated. And there, don't you see? Your strength comes in, the faith in your ability for the digging of unostentatious holes to bury the stuff in--your power of devotion, not to yourself, but to an obscure, back-breaking business. And that's difficult enough. Mind, I am not trying to excuse or even explain--I am trying to account to myself for--for--Mr. Kurtz--for the shade of Mr. Kurtz. This initiated wraith from the back of Nowhere honored me with its amazing confidence before it vanished altogether. This was because it could speak English to me. The original Kurtz had been educated partly in England, and--as he was good enough to say himself--his sympathies were in the right place. His mother was half-English, his father was half-French. All Europe contributed to the making of Kurtz.
Joseph Conrad (Heart of Darkness)
Hardly anyone files a complaint, because the last thing most people want to do after experiencing a frightening and intrusive encounter with the police is show up at the police station where the officer works and attract more attention to themselves. For good reason, many people—especially poor people of color—fear police harassment, retaliation, and abuse. After having your car torn apart by the police in a futile search for drugs, or being forced to lie spread-eagled on the pavement while the police search you and interrogate you for no reason at all, how much confidence do you have in law enforcement?
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
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))
Monkshood was a good hour’s walk from the town proper. The very narrow lanes meant that occasionally you had to throw yourself in the ditch to avoid a car, and once they had to throw themselves in the ditch to avoid a farmer coming by in a blue cart. “The Americans have these inventions called sidewalks,” Jared noted. “We call them pavements,” Kami said. “And we see them as luxuries that you just can’t have with every road.” “You know what goes faster than us? Or even pretty, pretty ponies?” Jared asked. “Your head, spinning through the air when detached from your shoulders after a grisly motorcycle crash
Sarah Rees Brennan (Unspoken (The Lynburn Legacy, #1))
Shelton pushed Ben lightly. “Remember when you couldn’t flare without losing your temper? So Hi kicked you from behind to get you mad, and you threw him in the ocean?” Ben snorted. “He deserved it.” “I was providing a service,” Hi protested. “I recall Tory once trying to eat a mouse.” I pinched my nose. “Ugh, don’t remind me.” Ella giggled. “One time Cole lost his flare while carrying a boulder. It pinned his leg for an hour.” Then everyone had a story. Our funeral became a wake. The mood lifted as we swapped flare stories. It was cathartic. A way to say good-bye. I caught Ben smiling at me. “I remember when Tory sniffed that mound of bird crap in the old lighthouse. I thought she’d vomit on the spot.” Chance laughed. “I knew she was too clever. Always with a trick up her sleeve.” The boys glanced at each other. Their smiles faded. Something passed between them. Abruptly, both looked at me. I could see a question in their eyes. A resolve to see something through. They talked. Oh God, they talked about me. They’re going to make me choose. In a flash of dread, I realized I could delay this no longer. With another jolt, I realized I didn’t need to. There was no point putting it off. There was also no decision to make. My eyes met a dark, intense pair staring back earnestly. Longingly. Fearfully. I smiled. Even as my heart pounded. Before anyone spoke, I stepped forward, legs shaking so badly I worried I might fall. But my second foot successfully followed the first. I walked over to Ben’s side. Slipped my hand inside his. Squeezed for dear life. Ben’s eyes widened. He gasped quietly, his chest rising and falling. I met his startled gaze. Smiled through my blushes. A goofy smile split Ben’s face, one I’d never seen before. His fingers crushed mine. No decision to make. Tearing my eyes from Ben, I looked at Chance, found him watching me with a glum expression. Then he sighed, a wry smile twisting his lips. Chance nodded slightly. Not one word spoken. Volumes exchanged. The silence stretched, like a living breathing force. Finally, Hi cleared his throat. “Um.” My face burned scarlet as I remembered our audience. Ella was gaping at me, a delighted grin on her face. Shelton looked like he might turn and run. Hi was rubbing the back of his neck, his face twisted in an uncomfortable grimace. Still no one said a word. This was the most painful moment of my life. “So . . .” Hi drummed his thighs, eyes fixed to the pavement. “Right. A lot just happened there. Weirdly without anyone talking, but, um, yeah.
Kathy Reichs (Terminal (Virals, #5))
I always thought that about the Garden of Eden story," said Ford. "Eh?" "Garden of Eden. Tree. Apple. That bit, remember?" "Yes of course I do." "Your God person puts an apple tree in the middle of a garden and says do what you like guys, oh, but don't eat the apple. Surprise surprise, they eat it and he leaps out from behind a bush shouting `Gotcha'. It wouldn't have made any difference if they hadn't eaten it." "Why not?" "Because if you're dealing with somebody who has the sort of mentality which likes leaving hats on the pavement with bricks under them you know perfectly well they won't give up. They'll get you in the end." "What are you talking about?" "Never mind, eat the fruit.
Douglas Adams (The Restaurant at the End of the Universe (Hitchhiker's Guide to the Galaxy, #2))
Rain is the last thing you want when you're chasing someone in Miami. They drive shitty enough as it is, but on top of that, snow is a foreign concept, which means they never got the crash course in traction judgment for when pavement slickness turns less than ideal. And because of the land-sea temperature differential, Florida has regular afternoon rain showers. Nothing big, over in a jiff. But minutes later, all major intersections in Miami-Dade are clogged with debris from spectacular smash-ups. In Northern states, snow teaches drivers real fast about the Newtonian physics of large moving objects. I haven't seen snow either, but I drink coffee, so the calculus of tire-grip ratio is intuitive to my body.
Tim Dorsey (Pineapple Grenade (Serge Storms, #15))
Where do you get your information?” Masha asked what seemed at the moment a logical question. “There,” said the lieutenant, and he nodded at the pavement for some reason. “Television,” he added a moment later. “Who controls the television?” This was the journalist with the video camera speaking. “The authorities do,” said the lieutenant. Masha tried to point out to him that getting information about the authorities from the authorities might not be wise. After a few minutes, he asked the journalist to turn off his camera. Then he told Masha that the truth was found in the book Blows from the Russian Gods, the screed that had been recommended to Masha once before. It purported to “uncover the real crimes of the Jews,” who had taken over the world. One subsection was called “The Sexual Traits of the Jews.” It began with homosexuality: “Not only was homosexuality widespread among the ancient Jews but it was known to take over entire cities, such as Sodom and Gomorrah, for example.” The lieutenant told Masha that every soldier in his platoon had received a copy of this book.
Masha Gessen (The Future Is History: How Totalitarianism Reclaimed Russia)
Plants and animals don’t fight the winter; they don’t pretend it’s not happening and attempt to carry on living the same lives that they lived in the summer. They prepare. They adapt. They perform extraordinary acts of metamorphosis to get them through. Winter is a time of withdrawing from the world, maximising scant resources, carrying out acts of brutal efficiency and vanishing from sight; but that’s where the transformation occurs. Winter is not the death of the life cycle, but its crucible. Once we stop wishing it were summer, winter can be a glorious season in which the world takes on a sparse beauty and even the pavements sparkle. It’s a time for reflection and recuperation, for slow replenishment, for putting your house in order. Doing
Katherine May (Wintering: The Power of Rest and Retreat in Difficult Times)
Name: One Shade of Grey Description: You'll recognise this phenomenon through an inability to tell where the pavement ends and the sky begins. Nothing has ever been achieved on a One Shade of Grey day, so if you notice one upon opening your curtains the best advice is to climb back into bed, drink gin through a straw and remember the 'Lost Sun' days of years past. Most likely: Any of the 18 months of winter.
Rob Temple (Very British Problems: Making Life Awkward for Ourselves, One Rainy Day at a Time (Very British Problems, #1))
If you had to ask the price of W&B’s chocolates, you couldn’t afford them. And if you’d tasted one, and still couldn’t afford them, you’d save and scrimp and rob and sell elderly members of your family for just one more of those mouthfuls that fell in love with your tongue and turned your soul to whipped cream. There was a discreet drain in the pavement in case people standing in front of the window drooled too much.
Terry Pratchett (Thief of Time (Discworld, #26; Death, #5))
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 percent 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.
Caitlin Moran (How to Build a Girl (How to Build a Girl, #1))
WhatsApp forwards about love and kindness. I wonder if on a Sunday morning all these enthusiastic do-gooders could send out truly helpful things like ‘11 cures for a hangover’ or ‘How to clean puke stains from your dress’. I have no such luck; all I get are strange messages like ‘Little memories can last for years’. Very useful when you are trying hard to forget all the embarrassing things you did the night before. Do I really need messages saying, ‘A little hug can wipe out a big tear’ or ‘Friendship is a rainbow’? There is also a message saying, ‘God blues you’, which I am trying to guess could mean that either God wants to bless me, rule me or make a blue movie with me. Has it ever happened that a murderer just before committing his crime gets a message stating, ‘Life is about loving’, and stops in his tracks, or a banker reads ‘No greater sin than cheating’, and quits his job? So, what do these messages really do? I think they allow lazy people to think that they are doing a good deed in the easiest possible manner by sending these daft bits of information out into the universe. Go out there! Sweep a pavement, plant a tree, feed a stray dog. Do something, anything; rather than just using your fingers to tap three keys and destroy 600 people’s brain cells in one shot. 11 a.m.: This is turning out to be a hectic day. The
Twinkle Khanna (Mrs Funnybones: She's just like You and a lot like Me)
I wonder what Lena is doing now. I always wonder what Lena is doing. Rachel, too: both my girls, my beautiful, big-eyed girls. But I worry about Rachel less. Rachel was always harder than Lena, somehow. More defiant, more stubborn, less feeling . Even as a girl, she frightened me—fierce and fiery-eyed, with a temper like my father’s once was. But Lena . . . little darling Lena, with her tangle of dark hair and her flushed, chubby cheeks. She used to rescue spiders from the pavement to keep them from getting squashed; quiet, thoughtful Lena, with the sweetest lisp to break your heart. To break my heart: my wild, uncured, erratic, incomprehensible heart. I wonder whether her front teeth still overlap; whether she still confuses the words pretzel and pencil occasionally; whether the wispy brown hair grew straight and long, or began to curl. I wonder whether she believes the lies they told her.
Lauren Oliver (Annabel (Delirium, #0.5))
Stand on the highest pavement of the stair— Lean on a garden urn— Weave, weave the sunlight in your hair— Clasp your flowers to you with a pained surprise— Fling them to the ground and turn With a fugitive resentment in your eyes: But weave, weave the sunlight in your hair. So I would have had him leave, So I would have had her stand and grieve, So he would have left As the soul leaves the body torn and bruised, As the mind deserts the body it has used. I should find Some way incomparably light and deft, Some way we both should understand, Simple and faithless as a smile and shake of the hand. She turned away, but with the autumn weather Compelled my imagination many days, Many days and many hours: Her hair over her arms and her arms full of flowers. And I wonder how they should have been together! I should have lost a gesture and a pose. Sometimes these cogitations still amaze The troubled midnight and the noon’s repose.
T.S. Eliot (La Figlia che Piange)
It is an ignorant place, except as to the townspeople, artisans, drunkards, and paupers, she said, perverse still at his differing from her. They see life as it is, of course; but few of the people in the colleges do. You prove it in your own person. You are one of the very men Christminster was intended for when the colleges were founded; a man with a passion for learning, but no money, or opportunities, or friends. But you were elbowed off the pavement by the millionaires' sons.
Thomas Hardy (Jude the Obscure)
If you think you have big problems - and you are looking for more big problems - you will definitely have a lot of them. Instead of giving yourself a nervous breakdown when a difficult situation arises, put the situation into proper perspective. In the event you find yourself unemployed, sure, it's a problem of sorts. But compared to the situation of a pavement dweller in India, who has to spend twelve hours a day looking for water and food just to survive for another day, your problem of being unemployed in North America is quite a privilege
Ernie J. Zelinski
JAMIE'S SONG 'Bright Blue Dream': I watch the world go round and round. And see the sun go up and down. I think I’ve heard most every sound Except your voice. I feel the river by my feet. And let the tears dry indiscrete. Seems the horizon’s incomplete Without your face. The world is a colder place, Shadows everywhere you used to be. Darker than the darkest nights I’ve seen. And I try go back to that Bright blue dream. When there was nothing, there was nothing, but you and me. Clear blue sky. Yes there was something, there was something, I could not see.
Neha Yazmin (Chasing Pavements (The Soulmates Saga #1))
I'm Tessa," she said. "I'm a friend of these girls. And I could ask who the fuck you are, coming over here, trying to be intimidating, and throwing your pitiful masculinity around like it's something to be either proud or afraid of, which is a joke. Since you obviously can't threaten anybody physically--I'm fairly certain Hailey here could pound you into a crimson stain on the pavement in a hot minute--you're trying to overcompensate by making veiled sexual and financial threats, acting like homosexuality is somehow an insult, and basically being an asshole." Harold
Cathy Yardley (Level Up (Fandom Hearts, #1))
That’s the goal, isn’t it? For every crack to be filled with your ideas and innovations and creativity? The only way to achieve this, though, is to be prepared for many of them to fail, to land on pavement, to be perfect yet cease to grow. We can cry about these failures, but that will lead us to hold back on the next idea. Or we can celebrate them, realizing that it’s proof that we’re being promiscuous in our shipping, putting the best work we can into the world, regardless of whether this particular idea actually works. When was the last time you set out to be promiscuous in your failures?
Seth Godin (Poke the Box)
Plants and animals don’t fight the winter; they don’t pretend it’s not happening and attempt to carry on living the same lives that they lived in the summer. They prepare. They adapt. They perform extraordinary acts of metamorphosis to get them through. Winter is a time of withdrawing from the world, maximising scant resources, carrying out acts of brutal efficiency and vanishing from sight; but that’s where the transformation occurs. Winter is not the death of the life cycle, but its crucible. Once we stop wishing it were summer, winter can be a glorious season in which the world takes on a sparse beauty and even the pavements sparkle. It’s a time for reflection and recuperation, for slow replenishment, for putting your house in order. Doing those deeply unfashionable things—slowing down, letting your spare time expand, getting enough sleep, resting—is a radical act now, but it is essential. This is a crossroads we all know, a moment when you need to shed a skin. If you do, you’ll expose all those painful nerve endings and feel so raw that you’ll need to take care of yourself for a while. If you don’t, then that skin will harden around you. It’s one of the most important choices you’ll ever make.
Katherine May (Wintering: The Power of Rest and Retreat in Difficult Times)
I'm really sorry, Jess, but she's going to have to have your room.' 'My room?' exploded Jess. 'There's a perfectly good spare room upstairs!' 'Yes, but you see, darling, Granny can't manage stairs quite so easily anymore. Since Grandpa died and she had that fall, you know- well, her house is too much for her to manage on her own. [...] Granny has to be on the ground floor, love. She can use the groundfloor loo, and we'll convert the old coal shed at the back into a bathroom.' Jess was too furious to speak. No, wait, she wasn't. 'Where am I supposed to sleep then?' she snapped. 'Out on the pavement?
Sue Limb (Girl, 15, Charming but Insane (Jess Jordan, #1))
The Sinsar Dubh popped up on my radar, and it was moving straight toward us. At an extremely high rate of speed. I whipped the Viper around, tires smoking on the pavement. There was nothing else I could do. Barrons looked at me sharply. “What? Do you sense it?” Oh, how ironic, he thought I’d turned us toward it. “No,” I lied, “I just realized I forgot my spear tonight. I left it back at the bookstore. Can you believe it? I never forget my spear. I can’t imagine what I was thinking. I guess I wasn’t. I was talking to my dad while I was getting dressed and I totally spaced it.” I worked the pedals, ripping through the gears. He didn’t even try to pat me down. He just said, “Liar.” I sped up, pasting a blushing, uncomfortable look on my face. “All right, Barrons. You got me. But I do need to go back to the bookstore. It’s . . . well . . . it’s personal.” The bloody, stupid Sinsar Dubh was gaining on me. I was being chased by the thing I was supposed to be chasing. There was something very wrong with that. “It’s . . . a woman thing . . . you know.” “No, I don’t know, Ms. Lane. Why don’t you enlighten me?” A stream of pubs whizzed by. I was grateful it was too cold for much pedestrian traffic. If I had to slow down, the Book would gain on me, and I already had a headache the size of Texas that was threatening to absorb New Mexico and Oklahoma. “It’s that time. You know. Of the month.” I swallowed a moan of pain. “That time?” he echoed softly. “You mean time to stop at one of the multiple convenience stores we just whizzed past so you can buy tampons? Is that what you’re telling me?” I was going to throw up. It was too close. Saliva was pooling in my mouth. How far behind me was it? Two blocks? Less? “Yes,” I cried. “That’s it! But I use a special kind and they don’t carry it.” “I can smell you, Ms. Lane,” he said, even more softly. “The only blood on you is from your veins, not your womb.” My head whipped to the left and I stared at him. Okay, that was one of the more disturbing things he’d ever said to me. “Ahhh!” I cried, letting go of both the wheel and the gearshift to clutch my head. The Viper ran up on the sidewalk and took out two newspaper stands and a streetlamp before crashing to a stop against a fire hydrant. And the blasted, idiotic Book was still coming. I began foaming at the mouth, wondering what would happen if it passed within a few feet of me. Would I die? Would my head really explode?
Karen Marie Moning (Faefever (Fever, #3))
We’re walking to our cars when Gabe says, “Hey, Lara Jean, did you know that if you say your name really fast, it sounds like Large? Try it! LaraJean.” Dutifully I repeat, “LaraJean. Larjean. Largy. Actually I think it sounds more like Largy, not Large.” Gabe nods to himself and announces, “I’m going to start calling you Large. You’re so little it’s funny. Right? Like those big guys who go by the name Tiny?” I shrug. “Sure.” Gabe turns to Darrell. “She’s so little she could be our mascot.” “Hey, I’m not that small,” I protest. “How tall are you?” Darrell asks me. “Five two,” I fib. It’s more like five one and a quarter. Tossing his spoon in the trash, Gabe says, “You’re so little you could fit in my pocket!” All the guys laugh. Peter’s smiling in a bemused way. Then Gabe suddenly grabs me and throws me over his shoulder like I’m a kid and he’s my dad. “Gabe! Put me down!” I shriek, kicking my legs and pounding on his chest. He starts spinning around in a circle, and all the guys are cracking up. “I’m going to adopt you, Large! You’re going to be my pet. I’ll put you in my old hamster cage!” I’m giggling so hard I can’t catch my breath and I’m starting to feel dizzy. “Put me down!” “Put her down, man,” Peter says, but he’s laughing too. Gabe runs toward somebody’s pickup truck and sets me down in the back. “Get me out of here!” I yell. Gabe’s already running away. All the guys start getting into their cars. “Bye, Large!” they call out. Peter jogs over to me and extends his hand so I can hop down. “Your friends are crazy,” I say, jumping onto the pavement. “They like you,” he says. “Really?” “Sure. They used to hate when I would bring Gen places. They don’t mind if you hang out with us.” Peter slings his arm around me. “Come on, Large. I’ll take you home.” As we walk to his car, I let my hair fall in my face so he doesn’t see me smiling. It sure is nice being part of a group, feeling like I belong.
Jenny Han (To All the Boys I've Loved Before (To All the Boys I've Loved Before, #1))
Where the weather is concerned, the Midwest has the worst of both worlds. In the winter the wind is razor sharp. It skims down from the Arctic and slices through you. It howls and swirls and buffets the house. It brings piles of snow and bonecracking cold. From November to March you walk leaning forward at a twenty-degree angle, even indoors, and spend your life waiting for your car to warm up, or digging it out of drifts or scraping futilely at ice that seems to have been applied to the windows with superglue. And then one day spring comes. The snow melts, you stride about in shirtsleeves, you incline your face to the sun. And then, just like that, spring is over and it’s summer. It is as if God has pulled a lever in the great celestial powerhouse. Now the weather rolls in from the opposite direction, from the tropics far to the south, and it hits you like a wall of heat. For six months, the heat pours over you. You sweat oil. Your pores gape. The grass goes brown. Dogs look as if they could die. When you walk downtown you can feel the heat of the pavement rising through the soles of your shoes. Just when you think you might very well go crazy, fall comes and for two or three weeks the air is mild and nature is friendly. And then it’s winter and the cycle starts again. And you think, “As soon as I’m big enough, I’m going to move far, far away from here.
Bill Bryson (The Lost Continent: Travels in Small Town America)
Just one more, before we get on with our writing,’ said the teacher, turning to a large, friendly-looking boy with cropped hair and large ears. ‘Scott’s from America, Mr Phinn. All the way from Tennessee. Come along then, Scott, what was your accident?’ ‘Well, I guess the worst accident I had was when I was riding my bike on the sidewalk – ’ ‘We call it “pavement” over here, Scott,’ interrupted the teacher. ‘Oh yeah, pavement, and I came to this slope. I was pedalling so fast I just could not stop. I put on my brakes but I carried on skidding and sliding until I hit one of those great white things in the middle of the road – ’ ‘Bollards,’ said the teacher. ‘Straight up, miss,’ said the boy. ‘I really did.
Gervase Phinn (Up and Down in the Dales (The Dales #4))
I was amused and somewhat astonished at a critic a few years back who wrote an article analyzing Dandelion Wine plus the more realistic works of Sinclair Lewis, wondering how I could have been born and raised in Waukegan, which I renamed Green Town for my novel, and not noticed how ugly the harbor was and how depressing the coal docks and railyards down below the town. But, of course, I had noticed them and, genetic enchanter that I was, was fascinated by their beauty. Trains and boxcars and the smell of coal and fire are not ugly to children. Ugliness is a concept that we happen on later and become selfconscious about. Counting boxcars is a prime activity of boys. Their elders fret and fume and jeer at the train that holds them up, but boys happily count and cry the names of the cars as they pass from far places. And again, that supposedly ugly railyard was where carnivals and circuses arrived with elephants who washed the brick pavements with mighty steaming acid waters at five in the dark morning. As for the coal from the docks, I went down in my basement every autumn to await the arrival of the truck and its metal chute, which clanged down and released a ton of beauteous meteors that fell out of far space into my cellar and threatened to bury me beneath dark treasures. In other words, if your boy is a poet, horse manure can only mean flowers to him; which is, of course, what horse manure has always been about.
Ray Bradbury
The hardest part was coming to terms with the constant dispiriting discovery that there is always more hill. The thing about being on a hill, as opposed to standing back from it, is that you can almost never see exactly what’s to come. Between the curtain of trees at every side, the ever-receding contour of rising slope before you, and your own plodding weariness, you gradually lose track of how far you have come. Each time you haul yourself up to what you think must surely be the crest, you find that there is in fact more hill beyond, sloped at an angle that kept it from view before, and that beyond that slope there is another, and beyond that another and another, and beyond each of those more still, until it seems impossible that any hill could run on this long. Eventually you reach a height where you can see the tops of the topmost trees, with nothing but clear sky beyond, and your faltering spirit stirs—nearly there now!—but this is a pitiless deception. The elusive summit continually retreats by whatever distance you press forward, so that each time the canopy parts enough to give a view you are dismayed to see that the topmost trees are as remote, as unattainable, as before. Still you stagger on. What else can you do? When, after ages and ages, you finally reach the telltale world of truly high ground, where the chilled air smells of pine sap and the vegetation is gnarled and tough and wind bent, and push through to the mountain’s open pinnacle, you are, alas, past caring. You sprawl face down on a sloping pavement of gneiss, pressed to the rock by the weight of your pack, and lie there for some minutes, reflecting in a distant, out-of-body way that you have never before looked this closely at lichen, not in fact looked this closely at anything in the natural world since you were four years old and had your first magnifying glass. Finally, with a weary puff, you roll over, unhook yourself from your pack, struggle to your feet, and realize—again in a remote, light-headed, curiously not-there way—that the view is sensational: a boundless vista of wooded mountains, unmarked by human hand, marching off in every direction. This really could be heaven.
Bill Bryson
Drelmere and sons, fine outfitters for the discerning magician!” he was shouting, his voice barely carrying over the hubbub. “Robes! Pointy hats! Beard grooming supplies! Yes, you sir, how can OH GOD HURRAAARRGLAB.” I waited patiently for him to finish decorating the pavement with his stomach contents. “Sorry,” he said, bent double and gulping. Impressively, he immediately continued his sales pitch from that position. “Looking for a new robe?” “Yes, this one’s starting to whiff a bit.” “Yes, I . . . gathered that, sir.” He took a few deep, groaning breaths into a star-patterned hanky and seemed to gather himself. “What sort of price range were you OH GOD YOUR EYES HURRAAARRGLAB.” I tapped my now bile-sodden foot. “Shall I come back later?
Yahtzee Croshaw
So long as you go and come in your native land, you imagine that those streets are a matter of indifference to you; that those windows, those roofs, and those doors are nothing to you; that those walls are strangers to you; that those trees are merely the first encountered hap-hazard; that those houses, which you do not enter, are useless to you; that the pavements which you tread are merely stones. Later on, when you are no longer there, you perceive that the streets are dear to you; that you miss those roofs, those doors; and that those walls are necessary to you, those trees are well beloved by you; that you entered those houses which you never entered, every day, and that you have left a part of your heart, of your blood, of your soul, in those pavements.
Victor Hugo (Les Misérables)
Men often do that, spreading out their legs on the Tube as though they have an innate need to fill any space that isn’t filled, walking down the middle of a narrow pavement and being almost surprised when they career into you, nudging too close in a coffee shop queue as though you’ll give way. They don’t even notice what they’re doing. They are important, their needs are important. You are not as important. You are not important at all. Unless you’re attractive to them. Then your space will be occupied in other ways. Men will stand in front of you and block your path to get your attention. They will slow their car down so that you feel uncomfortable as you walk down the street. They will hover over you in bars, touching your arm, grabbing your hand. If you’re lucky, it’ll just be your hand.
Bella Mackie (How to Kill Your Family)
I always pictured it a grand thing, the moment I would take off. Someone waving long after I was out of sight and some tune playing soft from somewhere I couldn’t see. I pictured it a clear line, some sort of sharp edge between before and after. But there is no such thing. You can take a U-turn where you’re walking on the pavement but people are just on their own ways home, and now you’re in their way. You keep walking against the tide and you think you’re doing something great but really you’re just pissing people off and when you finally get out on the open field where no directions exist, you find yourself lonely, not free, just a big, vast lonely world that surrounds you and you can go anywhere you please but suddenly you don’t want to go anywhere at all. You just want to go home. Back to your people.
Charlotte Eriksson (Everything Changed When I Forgave Myself: growing up is a wonderful thing to do)
When, shortly afterward, I stopped at the top of the hill and saw the town beneath me, my feeling of happiness was so ecstatic that I didn’t know how I would be able to make it home, sit there and write, eat, or sleep. But the world is constructed in such a way that it meets you halfway in moments precisely like these, your inner joy seeks an outer counterpart and finds it, it always does, even in the bleakest regions of the world, for nothing is as relative as beauty. Had the world been different, in my opinion, without mountains and oceans, plains and seas, deserts and forests, and consisted of something else, inconceivable to us, as we don’t know anything other than this, we would also have found it beautiful. A world with gloes and raies, evanbillits and conulames, for example, or ibitera, proluffs, and lopsits, whatever they might be, we would have sung their praises because that is the way we are, we extol the world and love it although it’s not necessary, the world is the world, it’s all we have. So as I walked down the steps toward the town center on this Wednesday at the end of August I had a place in my heart for everything I beheld. A slab of stone worn smooth in a flight of steps: fantastic. A swaybacked roof side by side with an austere perpendicular brick building: so beautiful. A limp hot-dog wrapper on a drain grille, which the wind lifts a couple of meters and then drops again, this time on the pavement flecked with white stepped-on chewing gum: incredible. A lean old man hobbling along in a shabby suit carrying a bag bulging with bottles in one hand: what a sight. The world extended its hand, and I took it.
Karl Ove Knausgaard
Here’s an experiment worth conducting. Sneak into the home of a NASA skeptic in the dead of night and remove all technologies from the home and environs that were directly or indirectly influenced by space innovations: microelectronics, GPS, scratch-resistant lenses, cordless power tools, memory-foam mattresses and head cushions, ear thermometers, household water filters, shoe insoles, long-distance telecommunication devices, adjustable smoke detectors, and safety grooving of pavement, to name a few. While you’re at it, make sure to reverse the person’s LASIK surgery. Upon waking, the skeptic embarks on a newly barren existence in a state of untenable technological poverty, with bad eyesight to boot, while getting rained on without an umbrella because of not knowing the satellite-informed weather forecast for that day.
Neil deGrasse Tyson (Space Chronicles: Facing the Ultimate Frontier)
Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. Cannery Row is the gathered and scattered, tin and iron and rust and splintered wood, chipped pavement and weedy lots and junk heaps, sardine canneries of corrugated iron, honky-tonks, restaurants and whore-houses, and little crowded groceries, and laboratories and flop-houses. Its inhabitants are, as the man once said, "whores, pimps, gamblers, and sons of bitches," by which he meant Everybody. Had the man looked through another peep-hole he might have said: "Saints and angels and martyrs and holy men," and he would have meant the same thing. In the morning when the sardine fleet has made a catch, the purse-seiners waddle heavily into the bay blowing their whistles. The deep-laden boats pull in against the coast where the canneries dip their tails into the bay. The figure is advisedly chosen, for if the canneries dipped their mouths into the bay the canned sardines which emerge from the other end would be metaphorically, at least, even more horrifying. Then cannery whistles scream and all over the town men and women scramble into their clothes and come running down to the Row to go to work. Then shining cars bring the upper classes down: superintendents, accountants, owners who disappear into offices. Then from the town pour Wops and Chinamen and Polaks, men and women in trousers and rubber coats and oilcloth aprons. They come running to clean and cut and pack and cook and can the fish. The whole street rumbles and groans and screams and rattles while the silver rivers of fish pour in out of the boats and the boats rise higher and higher in the water until they are empty. The canneries rumble and rattle and squeak until the last fish is cleaned and cut and cooked and canned and then the whistles scream again and the dripping, smelly, tired Wops and Chinamen and Polaks, men and women, straggle out and droop their ways up the hill into the town and Cannery Row becomes itself again-quiet and magical. Its normal life returns. The bums who retired in disgust under the black cypress-tree come out to sit on the rusty pipes in the vacant lot. The girls from Dora's emerge for a bit of sun if there is any. Doc strolls from the Western Biological Laboratory and crosses the street to Lee Chong's grocery for two quarts of beer. Henri the painter noses like an Airedale through the junk in the grass-grown lot for some pan or piece of wood or metal he needs for the boat he is building. Then the darkness edges in and the street light comes on in front of Dora's-- the lamp which makes perpetual moonlight in Cannery Row. Callers arrive at Western Biological to see Doc, and he crosses the street to Lee Chong's for five quarts of beer. How can the poem and the stink and the grating noise-- the quality of light, the tone, the habit and the dream-- be set down alive? When you collect marine animals there are certain flat worms so delicate that they are almost impossible to capture whole, for they break and tatter under the touch. You must let them ooze and crawl of their own will on to a knife blade and then lift them gently into your bottle of sea water. And perhaps that might be the way to write this book-- to open the page and to let the stories crawl in by themselves.
John Steinbeck
All right, you said. You had an idea about the questions: you’d be asked to give a good account of yourself, and to admit to your misdeeds, such as they were. You thought you were ready. You hadn’t been perfect, but then, perfection wouldn’t be expected. Surely not, or who would ever get in? Here are the questions, he said. What is your favourite colour? Did you love your cat? Did you ever find a coin on the pavement? Were you happy? Suddenly it’s the present tense. The first question baffles you. Do you have a favourite colour or not? You can’t remember. Everything you’ve been meaning to say in your own defence has gone right out of your head. Now a wind has begun to blow: ripped posters whirl along the street, open mouths, hands, eyes. Perhaps you should open the rucksack. You never had a cat. What do coins have to do with it? There must be some mistake.
Margaret Atwood (The Tent)
An individualist town councillor will walk along the municipal pavement, lit by municipal gas and cleansed by municipal brooms with municipal water and - seeing by the municipal clock in the municipal market, that he is too early to meet his children coming from the municipal school, hard by the country lunatic asylum and the municipal hospital, will use the national telegraph system to tell them not to walk through the municipal park, but to come by the municipal tramway to meet him in the municipal reading-room, by the municipal museum, art-gallery, and library, where he intends ... to prepare his next speech in the municipal town hall in favor of the nationalization of canals and in increase of Government control of the railway system. "Socialism, Sir," he will say, "don't waste the time of a practical man by your fantastic absurdities. Self-help, Sir, individual self-help, that's what has made our city what it is.
Sidney Webb
I never liked North America, even first trip. It is not most crowded part of Terra, has a mere billion people. In Bombay they sprawl on pavements; in Great New York they pack them vertically--not sure anyone sleeps. Was glad to be in invalid's chair. Is mixed-up place another way; they care about skin color--by making point of how they don't care. First trip I was always too light or too dark, and somehow blamed either way, or was always being expected to take stand on things I have no opinions on. Bog knows I don't know what genes I have. One grandmother came from a part of Asia where invaders passed as regularly as locusts, raping as they went--why not ask her? Learned to handle it by my second makee-learnee but it left a sour taste. Think I prefer a place as openly racist as India, where if you aren't Hindu, you're nobody--except that Parsees look down on Hindus and vice versa. However I never really had to cope with North America's reverse-racism when being "Colonel O' Kelly Davis, Hero of Lunar Freedom.
Robert A. Heinlein (The Moon Is a Harsh Mistress)
Better check on him,” Cara says, nodding to Tobias. “Yeah,” I say. I cross the room and stand in front of the windows, staring at what we can see of the compound, which is just more of the same glass and steel, pavement and grass and fences. When he sees me, he stops pacing and stands next to me instead. “You all right?” I say to him. “Yeah.” He sits on the windowsill, facing me, so we’re at eye level. “I mean, no, not really. Right now I’m just thinking about how meaningless it all was. The faction system, I mean.” He rubs the back of his neck, and I wonder if he’s thinking about the tattoos on his back. “We put everything we had into it,” he says. “All of us. Even if we didn’t realize we were doing it.” “That’s what you’re thinking about?” I raise my eyebrows. “Tobias, they were watching us. Everything that happened, everything we did. They didn’t intervene, they just invaded our privacy. Constantly.” He rubs his temple with his fingertips. “I guess. That’s not what’s bothering me, though.” I must give him an incredulous look without meaning to, because he shakes his head. “Tris, I worked in the Dauntless control room. There were cameras everywhere, all the time. I tried to warn you that people were watching you during your initiation, remember?” I remember his eyes shifting to the ceiling, to the corner. His cryptic warnings, hissed between his teeth. I never realized he was warning me about cameras--it just never occurred to me before. “It used to bother me,” he says. “But I got over it a long time ago. We always thought we were on our own, and now it turns out we were right--they left us on our own. That’s just the way it is.” “I guess I don’t accept that,” I say. “If you see someone in trouble, you should help them. Experiment or not. And…God.” I cringe. “All the things they saw.” He smiles at me, a little. “What?” I demand. “I was just thinking of some of the things they saw,” he says, putting his hand on my waist. I glare at him for a moment, but I can’t sustain it, not with him grinning at me like that. Not knowing that he’s trying to make me feel better. I smile a little.
Veronica Roth (Allegiant (Divergent, #3))
Sadhana The body responds the moment it is in touch with the earth. That is why spiritual people in India walked barefoot and always sat on the ground in a posture that allowed for maximum area of contact with the earth. In this way, the body is given a strong experiential reminder that it is just a part of this earth. Never is the body allowed to forget its origins. When it is allowed to forget, it often starts making fanciful demands; when it is constantly reminded, it knows its place. This contact with the earth is a vital reconnection of the body with its physical source. This restores stability to the system and enhances the human capacity for rejuvenation greatly. This explains why there are so many people who claim that their lives have been magically transformed just by taking up a simple outdoor activity like gardening. Today, the many artificial ways in which we distance ourselves from the earth—in the form of pavements and multi-storied structures, or even the widespread trend of wearing high heels—involves an alienation of the part from the whole and suffocates the fundamental life process. This alienation manifests in large-scale autoimmune disorders and chronic allergic conditions. If you tend to fall sick very easily, you could just try sleeping on the floor (or with minimal organic separation between yourself and the floor). You will see it will make a big difference. Also, try sitting closer to the ground. Additionally, if you can find a tree that looks lively to you, in terms of an abundance of fresh leaves or flowers, go spend some time around it. If possible, have your breakfast or lunch under that tree. As you sit under the tree, remind yourself: “This very earth is my body. I take this body from the earth and give it back to the earth. I consciously ask Mother Earth now to sustain me, hold me, keep me well.” You will find your body’s ability to recover is greatly enhanced. Or if you have turned all your trees into furniture, collect some fresh soil and cover your feet and hands with it. Stay that way for twenty to thirty minutes. This could help your recovery significantly.
Sadhguru (Inner Engineering: A Yogi's Guide to Joy)
Hunter filled the opening in the privacy curtains. He wore green scrubs like the doctors and nurses who had scraped me off the pavement. For a split second I mistook him for an adorable doctor who looked a lot like Hunter. I knew it was Hunter when he gaped at me with a mixture of outrage and horror, his face pale, and demanded, “What did you do?” “Crossed the street,” I said. “Badly.” Wincing, I eased up from the gurney, putting my weight on my hand and my good hip. Only a few minutes had passed since they had brought me in, ascertained I wasn’t dying, and dumped me here. I still felt very shaky from the shock of being hit. But I didn’t want to face Hunter lying down. In two steps he bent over me and wrapped his arms around me. He was careful not to press on my hospital gown low against my back where the road rash was, but his touch on my shoulders radiated pain to the raw parts. I winced again. “Oh, God. I’m sorry.” He let me go but hovered over me, placing his big hands on my shoulder blades. He was so close that the air felt hot between us. “What did you hurt?” “This is just where I skidded across the road.” I gestured behind my back and then flinched at the sting in my skin as I moved my arm. “How far down does it go?” My back felt cold as he lifted on flap of my paper gown and looked. I kept my head down, my red cheeks hidden. He was peering at my back where my skin was missing. What could be sexier? Even if the circumstances had been happier, I was wearing no makeup and I was sure my hair was matted from my scarf. There was no reason for my blood to heat as if we were on a date instead of a gurney. But my body did not listen to logic when it came to Hunter. He was no examining my wound. He was captivated by the sight of my lovely and unblemished bottom. I was a novelist. I could dream, couldn’t I? Lightly I asked, “Are you asking whether I have gravel embedded in my ass? By the grace of God, no.” Hunter let my gown go and stood up “The doc said the car hit your hip,” he insisted. “Is it broken?” I rolled on my side to face him. “It really hurts,” I said. “If it were broken, I think it would hurt worse.” He nodded. “When I broke my ribs, I couldn’t breathe.” “That’s because your ribs punctured your lung.” He pointed at me. “True.” Then he cocked his head to one side, blond hair falling into his eyes. “I’m surprised you remember that.
Jennifer Echols (Love Story)
I landed on my side, my hip taking the brunt of the fall. It burned and stung from the hit, but I ignored it and struggled to sit up quickly. There really was no point in hurrying so no one would see. Everyone already saw A pair of jean-clad legs appeared before me, and my suitcase and all my other stuff was dropped nearby. "Whatcha doing down there?" Romeo drawled, his hands on his hips as he stared down at me with dancing blue eyes. "Making a snow angel," I quipped. I glanced down at my hands, which were covered with wet snow and bits of salt (to keep the pavement from getting icy). Clearly, ice wasn't required for me to fall. A small group of girls just "happened by", and by that I mean they'd been staring at Romeo with puppy dog eyes and giving me the stink eye. When I fell, they took it as an opportunity to descend like buzzards stalking the dead. Their leader was the girl who approached me the very first day I'd worn Romeo's hoodie around campus and told me he'd get bored. As they stalked closer, looking like clones from the movie Mean Girls, I caught the calculating look in her eyes. This wasn't going to be good. I pushed up off the ground so I wouldn't feel so vulnerable, but the new snow was slick and my hand slid right out from under me and I fell back again. Romeo was there immediately, the teasing light in his eyes gone as he slid his hand around my back and started to pull me up. "Careful, babe." he said gently. The girls were behind him so I knew he hadn't seen them approach. They stopped as one unit, and I braced myself for whatever their leader was about to say. She was wearing painted-on skinny jeans (I mean, really, how did she sit down and still breathe?) and some designer coat with a monogrammed scarf draped fashionably around her neck. Her boots were high-heeled, made of suede and laced up the back with contrasting ribbon. "Wow," she said, opening her perfectly painted pink lips. "I saw that from way over there. That sure looked like it hurt." She said it fairly amicably, but anyone who could see the twist to her mouth as she said it would know better. Romeo paused in lifting me to my feet. I felt his eyes on me. Then his lips thinned as he turned and looked over his shoulder. "Ladies," he said like he was greeting a group of welcomed friends. Annoyance prickled my stomach like tiny needles stabbing me. It's not that I wanted him to be rude, but did he have to sound so welcoming? "Romeo," Cruella DeBarbie (I don't know her real name, but this one fit) purred. "Haven't you grown bored of this clumsy mule yet?" Unable to stop myself, I gasped and jumped up to my feet. If she wanted to call me a mule, I'd show her just how much of an ass I could be. Romeo brought his arm out and stopped me from marching past. I collided into him, and if his fingers hadn't knowingly grabbed hold to steady me, I'd have fallen again. "Actually," Romeo said, his voice calm, "I am pretty bored." Three smirks were sent my way. What a bunch of idiots. "The view from where I'm standing sure leaves a lot to be desired." One by one, their eyes rounded when they realized the view he referenced was them. Without another word, he pivoted around and looked down at me, his gaze going soft. "No need to make snow angels, baby," he said loud enough for the slack-jawed buzzards to hear. "You already look like one standing here with all that snow in your hair." Before I could say a word, he picked me up and fastened his mouth to mine. My legs wound around his waist without thought, and I kissed him back as gentle snow fell against our faces.
Cambria Hebert (#Hater (Hashtag, #2))
She paused on the pavement, and remembered that Diva had not yet expressed regret about the worsted, and that she still "popped" as much as ever. Thus Diva deserved a punishment of some sort, and happily, at that very moment she thought of a subject on which she might be able to make her uncomfortable. The street was full, and it would be pretty to call up to her, instead of ringing her bell, in order to save trouble to poor overworked Janet. (Diva only kept two servants, though of course poverty was no crime.) "Diva darling!" she cooed. Diva's head looked out like a cuckoo in a clock preparing to chime the hour. "Hullo!" she said. "Want me?" "May I pop up for a moment, dear?" said Miss Mapp. "That's to say if you're not very busy." "Pop away," said Diva. She was quite aware that Miss Mapp said "pop" in crude inverted commas, so to speak, for purposes of mockery, and so she said it herself more than ever. "I'll tell my maid to pop down and open the door." While this was being done, Diva bundled her chintz curtains together and stored them and the roses she had cut out into her work-cupboard, for secrecy was an essential to the construction of these decorations. But in order to appear naturally employed, she pulled out the woollen scarf she was knitting for the autumn and winter, forgetting for the moment that the rose-madder stripe at the end on which she was now engaged was made of that fatal worsted which Miss Mapp considered to have been feloniously appropriated. That was the sort of thing Miss Mapp never forgot. Even among her sweet flowers. Her eye fell on it the moment she entered the room, and she tucked the two chintz roses more securely into her glove. "I thought I would just pop across from the grocer's," she said. "What a pretty scarf, dear! That's a lovely shade of rose-madder. Where can I have seen something like it before?" This was clearly ironical, and had best be answered by irony. Diva was no coward. "Couldn't say, I'm sure," she said. Miss Mapp appeared to recollect, and smiled as far back as her wisdom-teeth. (Diva couldn't do that.) "I have it," she said. "It was the wool I ordered at Heynes's, and then he sold it you, and I couldn't get any more." "So it was," said Diva. "Upset you a bit. There was the wool in the shop. I bought it." "Yes, dear; I see you did. But that wasn't what I popped in about. This coal-strike, you know...
E.F. Benson
WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota, therein the question: what did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces. Until a friend comforted, don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Dine, her father’s language. To sing she motions simultaneously with her hands I watch her be in multiple musics. At a ceremony to honor the Diné Nation’s first poet laureate, a speaker explains that each People has been given their own language to reach with. I understand reaching as active, a motion. It’s here we roll along the pavement into hills of conversation we share a ride we share a country but live in alternate nations and here I must tell them what they don’t know or, should I? Well you know Native people as in tribes as in people living over there are people with their own nations each with its own government and flag they rise to their own national songs and sing in their own languages, even. And by there I mean here all around us I remind them.
Layli Long Soldier (Whereas)
Zoey picked up her spoon and tasted it, and she was immediately and startlingly transported to a perfect autumn childhood day, the kind of day when sunlight is short but it's still warm enough to play outside. For the second course, the chilled crab cake was only the size of a silver dollar and the mustard cream and the green endive were just splashes of color on the plate. The visual experience was like dreaming of faraway summer while staring at Christmas lights through a frosty window. The third course brought to mind the first hot day of spring, when it's too warm to eat in the house so you sit outside with a dinner plate of Easter ham and corn on your lap and a bottle of Coca-Cola sweating beside you. Zoey could feel the excitement of summer coming, and she couldn't wait for it. And then summer arrived with the final course. And, like summer always is, it was worth the wait. The tiny container looked like a miniature milk glass, and the whipped milk in it reminded her of cold, sweet soft-serve ice cream on a day when the pavement burns through flip-flops and even shade trees are too hot to sit under. The savory bits of crispy cornbread mixed in gave the dessert a satisfying campfire crunch.
Sarah Addison Allen (Other Birds)
I went to a party, And remembered what you said. You told me not to drink, Mom So I had a sprite instead. I felt proud of myself, The way you said I would, That I didn't drink and drive, Though some friends said I should. I made a healthy choice, And your advice to me was right, The party finally ended, And the kids drove out of sight. I got into my car, Sure to get home in one piece, I never knew what was coming, Mom Something I expected least. Now I'm lying on the pavement, And I hear the policeman say, The kid that caused this wreck was drunk, Mom, his voice seems far away. My own blood's all around me, As I try hard not to cry. I can hear the paramedic say, This girl is going to die. I'm sure the guy had no idea, While he was flying high, Because he chose to drink and drive, Now I would have to die. So why do people do it, Mom Knowing that it ruins lives? And now the pain is cutting me, Like a hundred stabbing knives. Tell sister not to be afraid, Tell daddy to be brave, And when I go to heaven, Put Daddy's Girl on my grave. Someone should have taught him, That its wrong to drink and drive. Maybe if his parents had, I'd still be alive. My breath is getting shorter, Mom I'm getting really scared. These are my final moments, And I'm so unprepared. I wish that you could hold me Mom, As I lie here and die. I wish that I could say, "I love you, Mom!" So I love you and good-bye.
The most servile Negroes are suspect, and every means is used to impress upon them the power of the White Citizens Councils. Even police brutality can be put to good use. An incident in Ruleville, Sunflower County, birthplace of the Council, will illustrate the point. Preston Johns, Negro renter on Senator Eastland's plantation near Blanc, is a "good nigger who knows his place." One day in May 1955, Preston's wife got into a fight with another Negro woman in the Jim Crow section of the Ruleville theater. The manager threw the women out and notified the police. While the police were questioning the women, Preston's daughter came up to see what was happening to her mother. Without warning, a policeman struck her over the head with the butt of his gun. She fell to the pavement bleeding badly. The police left her there. Someone went for her father. When he came up, the police threatened to kill him. Preston left and called Mr. Scruggs, one of Eastland's cronies. After half an hour, Scruggs came and permitted the girl to be lifted from the street and taken to the hospital. When Scruggs left, he yelled to the Negroes across the street: "You'll see who your friend is. If it wasn't for us Citizens Council members, she'd have near about died." One old Negro answered back, "I been tellin' these niggers Mr. Scruggs and Mr. Eastland is de best friends dey got." A few days later, Senator Eastland came to Ruleville to look the situation over. Many Negroes lined the streets and beamed at their "protector.
Bayard Rustin (Down The Line)
Of course, she didn’t remember them; she’d never been introduced to them. Only knew them as Tallskinnyblonde and the rest. She felt like seaweed dragged on a line but managed to smile and say hello. This was the opportunity for which she’d waited. Here she was standing among the friends she wanted to join. Her mind fought for words, something clever to say that might interest them. Finally, two of them greeted her coolly and turned abruptly away, the others following quickly like a school of minnows finning down the street. “Well, so here we are,” Chase said. “I don’t want to interrupt anything. I’ve just come for supplies, then back home.” “You’re not interrupting. I just ran into them. I’ll be out on Sunday, like I said.” Chase shifted his feet, fingered the shell necklace. “I’ll see you then,” she said, but he’d already turned to catch the others. She hurried toward the market, stepping around a family of mallard ducks waddling down Main Street, their bright feet surprisingly orange against the dull pavement. In the Piggly Wiggly, pushing the vision of Chase and the girl from her head, she rounded the end of the bread aisle and saw the truant lady, Mrs. Culpepper, only four feet away. They stood there like a rabbit and a coyote caught together in a yard fence. Kya was now taller than the woman and much more educated, though neither would have thought of that. After all the running, she wanted to bolt, but stood her ground and returned Mrs. Culpepper’s stare. The woman nodded slightly, then moved on.
Delia Owens (Where the Crawdads Sing)
This is the fact the world desperately hides from us from birth. Long after you find out the truth about sex and Santa Claus, this other myth endures, this one about how you’ll always get rescued at the last second and if not, your death will at least mean something and there’ll be somebody there to hold your hand and cry over you. All of society is built to prop up that lie, the whole world a big, noisy puppet show meant to distract us from the fact that at the end, you’ll die, and you’ll probably be alone. I was lucky. I learned this a long time ago, in a tiny, stifling room behind my high school gym. Most people don’t realize it until they’re laying facedown on the pavement somewhere, gasping for their last breath. Only then do they realize that life is a flickering candle we all carry around. A gust of wind, a meaningless accident, a microsecond of carelessness, and it’s out. Forever. And no one cares. You kick and scream and cry out into the darkness, and no answer comes. You rage against the unfathomable injustice and two blocks away some guy watches a baseball game and scratches his balls. Scientists talk about dark matter, the invisible, mysterious substance that occupies the space between stars. Dark matter makes up 99.99 percent of the universe, and they don’t know what it is. Well I know. It’s apathy. That’s the truth of it; pile together everything we know and care about in the universe and it will still be nothing more than a tiny speck in the middle of a vast black ocean of Who Gives A Fuck.
The Suburbs In the suburbs I I learned to drive And you told me we'd never survive Grab your mother's keys we're leavin' You always seemed so sure That one day we'd fight in In a suburban world your part of town gets minor So you're standin' on the opposite shore But by the time the first bombs fell We were already bored We were already, already bored Sometimes I can't believe it I'm movin' past the feeling Sometimes I can't believe it I'm movin' past the feeling again Kids wanna be so hard But in my dreams we're still screamin' and runnin' through the yard And all of the walls that they built in the seventies finally fall And all of the houses they build in the seventies finally fall Meant nothin' at all Meant nothin' at all It meant nothin Sometimes I can't believe it I'm movin' past the feeling Sometimes I can't believe it I'm movin' past the feeling and into the night So can you understand? Why I want a daughter while I'm still young I wanna hold her hand And show her some beauty Before this damage is done But if it's too much to ask, it's too much to ask Then send me a son Under the overpass In the parking lot we're still waiting It's already passed So move your feet from hot pavement and into the grass Cause it's already passed It's already, already passed! Sometimes I can't believe it I'm movin' past the feeling Sometimes I can't believe it I'm movin' past the feeling again I'm movin' past the feeling I'm movin' past the feeling In my dreams we're still screamin' We're still screamin' We're still screamin
Arcade Fire
Sleeping on the Wing Perhaps it is to avoid some great sadness, as in a Restoration tragedy the hero cries 'Sleep! O for a long sound sleep and so forget it! ' that one flies, soaring above the shoreless city, veering upward from the pavement as a pigeon does when a car honks or a door slams, the door of dreams, life perpetuated in parti-colored loves and beautiful lies all in different languages. Fear drops away too, like the cement, and you are over the Atlantic. Where is Spain? where is who? The Civil War was fought to free the slaves, was it? A sudden down-draught reminds you of gravity and your position in respect to human love. But here is where the gods are, speculating, bemused. Once you are helpless, you are free, can you believe that? Never to waken to the sad struggle of a face? to travel always over some impersonal vastness, to be out of, forever, neither in nor for! The eyes roll asleep as if turned by the wind and the lids flutter open slightly like a wing. The world is an iceberg, so much is invisible! and was and is, and yet the form, it may be sleeping too. Those features etched in the ice of someone loved who died, you are a sculptor dreaming of space and speed, your hand alone could have done this. Curiosity, the passionate hand of desire. Dead, or sleeping? Is there speed enough? And, swooping, you relinquish all that you have made your own, the kingdom of your self sailing, for you must awake and breathe your warmth in this beloved image whether it's dead or merely disappearing, as space is disappearing and your singularity Frank O’Hara, The Collected Poems of Frank O'Hara. (University of California Press March 31, 1995)
Frank O'Hara (The Collected Poems of Frank O'Hara)
You can't understand. How could you? — with solid pavement under your feet, surrounded by kind neighbours ready to cheer you or to fall on you, stepping delicately between the butcher and the policeman, in the holy terror of scandal and gallows and lunatic asylums — how can you imagine what particular region of the first ages a man's untrammelled feet may take him into by the way of solitude — utter solitude without a policeman — by the way of silence — utter silence, where no warning voice of a kind neighbour can be heard whispering of public opinion? These little things make all the great difference. When they are gone you must fall back upon your own innate strength, upon your own capacity for faithfulness. Of course you may be too much of a fool to go wrong — too dull even to know you are being assaulted by the powers of darkness. I take it, no fool ever made a bargain for his soul with the devil; the fool is too much of a fool, or the devil too much of a devil — I don't know which. Or you may be such a thunderingly exalted creature as to be altogether deaf and blind to anything but heavenly sights and sounds. Then the earth for you is only a standing place—and whether to be like this is your loss or your gain I won't pretend to say. But most of us are neither one nor the other. The earth for us is a place to live in, where we must put up with sights, with sounds, with smells, too, by Jove!—breathe dead hippo, so to speak, and not be contaminated. And there, don't you see? Your strength comes in, the faith in your ability for the digging of unostentatious holes to bury the stuff in — your power of devotion, not to yourself, but to an obscure, back-breaking business. And that's difficult enough.
Joseph Conrad (Heart of Darkness)
I have talked to many people about this and it seems to be a kind of mystical experience. The preparation is unconscious, the realization happens in a flaming second. It was on Third Avenue. The trains were grinding over my head. The snow was nearly waist-high in the gutters and uncollected garbage was scattered in a dirty mess. The wind was cold, and frozen pieces of paper went scraping along the pavement. I stopped to look in a drug-store window where a latex cooch dancer was undulating by a concealed motor–and something burst in my head, a kind of light and a kind of feeling blended into an emotion which if it had spoken would have said, “My God! I belong here. Isn’t this wonderful?” Everything fell into place. I saw every face I passed. I noticed every doorway and the stairways to apartments. I looked across the street at the windows, lace curtains and potted geraniums through sooty glass. It was beautiful–but most important, I was part of it. I was no longer a stranger. I had become a New Yorker. Now there may be people who move easily into New York without travail, but most I have talked to about it have had some kind of trial by torture before acceptance. And the acceptance is a double thing. It seems to me that the city finally accepts you just as you finally accept the city. A young man in a small town, a frog in a small puddle, if he kicks his feet is able to make waves, get mud in his neighbor’s eyes–make some impression. He is known. His family is known. People watch him with some interest, whether kindly or maliciously. He comes to New York and no matter what he does, no one is impressed. He challenges the city to fight and it licks him without being aware of him. This is a dreadful blow to a small-town ego. He hates the organism that ignores him. He hates the people who look through him. And then one day he falls into place, accepts the city and does not fight it any more. It is too huge to notice him and suddenly the fact that it doesn’t notice him becomes the most delightful thing in the world. His self-consciousness evaporates. If he is dressed superbly well–there are half a million people dressed equally well. If he is in rags–there are a million ragged people. If he is tall, it is a city of tall people. If he is short the streets are full of dwarfs; if ugly, ten perfect horrors pass him in one block; if beautiful, the competition is overwhelming. If he is talented, talent is a dime a dozen. If he tries to make an impression by wearing a toga–there’s a man down the street in a leopard skin. Whatever he does or says or wears or thinks he is not unique. Once accepted this gives him perfect freedom to be himself, but unaccepted it horrifies him. I don’t think New York City is like other cities. It does not have character like Los Angeles or New Orleans. It is all characters–in fact, it is everything. It can destroy a man, but if his eyes are open it cannot bore him. New York is an ugly city, a dirty city. Its climate is a scandal, its politics are used to frighten children, its traffic is madness, its competition is murderous. But there is one thing about it–once you have lived in New York and it has become your home, no place else is good enough. All of everything is concentrated here, population, theatre, art, writing, publishing, importing, business, murder, mugging, luxury, poverty. It is all of everything. It goes all right. It is tireless and its air is charged with energy. I can work longer and harder without weariness in New York than anyplace else….
John Steinbeck
there was something else, something more complicated, more secret, and that is that girls in those days, even modern girls, like us, girls who went to school and then to university, were always taught that women are entitled to an education and a place outside the home—but only until the children are born. Your life is your own only for a short time: from when you leave your parents' home to your first pregnancy. From that moment, from the first pregnancy, we had to begin to live our lives only around the children. Just like our mothers. Even to sweep pavements for our children, because your child is the chick and you are—what? When it comes down to it, you are just the yolk of the egg, you are what the chick eats so as to grow big and strong. And when your child grows up—even then you can't go back to being yourself, you simply change from being a mother to being a grandmother, whose task is simply to help her children bring up their children. True, even then there were quite a few women who made careers for themselves and went out into the world. But everybody talked about them behind their backs: look at that selfish woman, she sits in meetings while her poor children grow up in the street and pay the price. Now it's a new world. Now at last women are given more opportunity to live lives of their own. Or is it just an illusion? Maybe in the younger generations too women still cry into their pillows at night, while their husbands are asleep, because they feel they have to make impossible choices? I don't want to be judgmental: it's not my world anymore. To make a comparison I'd have to go from door to door checking how many mothers' tears are wept every night into the pillow when husbands are asleep, and to compare the tears then with the tears now.
Amos Oz (A Tale Of Love And Darkness)
But soon the steeples called good people all, to church and chapel, and away they came, flocking through the streets in their best clothes, and with their gayest faces. And at the same time there emerged from scores of bye-streets, lanes, and nameless turnings, innumerable people, carrying their dinners to the bakers’ shops. The sight of these poor revellers appeared to interest the Spirit very much, for he stood with Scrooge beside him in a baker’s doorway, and taking off the covers as their bearers passed, sprinkled incense on their dinners from his torch. And it was a very uncommon kind of torch, for once or twice when there were angry words between some dinner-carriers who had jostled with each other, he shed a few drops of water on them from it, and their good humour was restored directly. For they said, it was a shame to quarrel upon Christmas Day. And so it was! God love it, so it was! In time the bells ceased, and the bakers’ were shut up; and yet there was a genial shadowing forth of all these dinners and the progress of their cooking, in the thawed blotch of wet above each baker’s oven; where the pavement smoked as if its stones were cooking too. “Is there a peculiar flavour in what you sprinkle from your torch?” asked Scrooge. “There is. My own.” “Would it apply to any kind of dinner on this day?” asked Scrooge. “To any kindly given. To a poor one most.” “Why to a poor one most?” asked Scrooge. “Because it needs it most.” “Spirit,” said Scrooge, after a moments thought, “I wonder you, of all the beings in the many worlds about us, should desire to cramp these peoples opportunities of innocent enjoyment.” “I!” cried the Spirit. “You would deprive them of their means of dining every seventh day, often the only day on which they can be said to dine at all,” said Scrooge. “Wouldn’t you?” “I!” cried the Spirit. “You seek to close these places on the Seventh Day?” said Scrooge. “And it comes to the same thing.” “I seek!” exclaimed the Spirit. “Forgive me if I am wrong. It has been done in your name, or at least in that of your family,” said Scrooge. “There are some upon this earth of yours,” returned the Spirit, “who lay claim to know us, and who do their deeds of passion, pride, ill-will, hatred, envy, bigotry* and selfishness in our name; who are as strange to us and all our kith and kin, as if they had never lived. Remember that, and charge their doings on themselves, not us.
Charles Dickens (A Christmas Carol)
You have reason to be happy as well. You have found a brother today. And you found out that you’re half-Irish.” That actually drew a rumble of amusement from him. “That should make me happy?” “The Irish are a remarkable race. And I see it in you: your love of land, your tenacity …” “My love of brawling.” “Yes. Well, perhaps you should continue to suppress that part.” “Being part-Irish,” he said, “I should be a more proficient drinker.” “And a far more glib conversationalist.” “I prefer to talk only when I have something to say.” “Hmmm. That is neither Irish nor Romany. Perhaps there’s another part of you we haven’t yet identified.” “My God. I hope not.” But he was smiling, and Win felt a warm ripple of delight spread through all her limbs. “That’s the first real smile I’ve seen from you since I came back,” she said. “You should smile more, Kev.” “Should I?” he asked softly. “Oh yes. It’s beneficial for your health. Dr. Harrow says his cheerful patients tend to recover far more quickly than the sour ones.” The mention of Dr. Harrow caused Merripen’s elusive smile to vanish. “Ramsay says you’ve become close with him.” “Dr. Harrow is a friend,” she allowed. “Only a friend?” “Yes, so far. Would you object if he wished to court me?” “Of course not,” Merripen muttered. “What right would I have to object?” “None at all. Unless you had staked some prior claim, which you certainly have not.” She sensed Merripen’s inner struggle to let the matter drop. A struggle he lost, for he said abruptly, “Far be it from me to deny you a diet of pabulum, if that’s what your appetite demands.” “You’re likening Dr. Harrow to pabulum?” Win fought to hold back a satisfied grin. The small display of jealousy was a balm to her spirits. “I assure you, he is not at all bland. He is a man of substance and character.” “He’s a watery-eyed, pale-faced gadjo.” “He is very attractive. And his eyes are not at all watery.” “Have you let him kiss you?” “Kev, we’re on a public thoroughfare—” “Have you?” “Once,” she admitted, and waited as he digested the information. He scowled ferociously at the pavement before them. When it became apparent he wasn’t going to say anything, Win volunteered, “It was a gesture of affection.” Still no response. Stubborn ox, she thought in annoyance. “It wasn’t like your kisses. And we’ve never …” She felt a blush rising. “We’ve never done anything similar to what you and I … the other night …” “We’re not going to discuss that.” “Why can we discuss Dr. Harrow’s kisses but not yours?” “Because my kisses aren’t going to lead to courtship.
Lisa Kleypas (Seduce Me at Sunrise (The Hathaways, #2))
The trail wasn’t hard to follow. It had a pattern. An irregular patch of scattered spots that looked like spots of tar in the artificial light was interspersed every fourth or fifth step by a dark gleaming splash where blood had spurted from the wound. Now that all the soul people had been removed from the street, the five detectives moved swiftly. But they could still feel the presence of teeming people behind the dilapidated stone façades of the old reconverted buildings. Here and there the white gleams of eyes showed from darkened windows, but the silence was eerie. The trail turned from the sidewalk into an unlighted alleyway between the house beyond the rooming house, which described itself by a sign in a front window reading: Kitchenette Apts. All conveniences, and the weather-streaked red-brick apartment beyond that. The alleyway was so narrow they had to go in single file. The sergeant had taken the power light from his driver, Joe, and was leading the way himself. The pavement slanted down sharply beneath his feet and he almost lost his step. Midway down the blank side of the building he came to a green wooden door. Before touching it, he flashed his light along the sides of the flanking buildings. There were windows in the kitchenette apartments, but all from the top to the bottom floor had folding iron grilles which were closed and locked at that time of night, and dark shades were drawn on all but three. The apartment house had a vertical row of small black openings one above the other at the rear. They might have been bathroom windows but no light showed in any of them and the glass was so dirty it didn’t shine. The blood trail ended at the green door. “Come out of there,” the sergeant said. No one answered. He turned the knob and pushed the door and it opened inward so silently and easily he almost fell into the opening before he could train his light. Inside was a black dark void. Grave Digger and Coffin Ed flattened themselves against the walls on each side of the alley and their big long-barreled .38 revolvers came glinting into their hands. “What the hell!” the sergeant exclaimed, startled. His assistants ducked. “This is Harlem,” Coffin Ed grated and Grave Digger elaborated: “We don’t trust doors that open.” Ignoring them, the sergeant shone his light into the opening. Crumbling brick stairs went down sharply to a green iron grille. “Just a boiler room,” the sergeant said and put his shoulders through the doorway. “Hey, anybody down there?” he called. Silence greeted him. “You go down, Joe, I’ll light your way,” the sergeant said. “Why me?” Joe protested. “Me and Digger’ll go,” Coffin Ed said. “Ain’t nobody there who’s alive.
Chester Himes (Blind Man with a Pistol (Harlem Cycle, #8))
The PEOPLE, SCHOOL, EVERYONE, and EVERYTHING is so FAKE AND GAY.' 'I shrieked, at the top of my voice fingers outspread and frozen in fear, unlike ever before in my young life; being the gentle, sweet, and shy girl that I am.' 'Besides always too timid to have a voice, to stand up for me, and forced not to, by masters.' Amidst my thoughts racing ridiculously, 'I feel that it is all just another way for the 'SOCIETY' to make me feel inferior, they think, they are so 'SUPERIOR' to me, and who I am to them.' 'Nonetheless, every day of my life, I have felt like I have been drowning in a pool, with weights attached to my ankles.' 'Like, of course, there is no way for me to escape the chains that are holding me down.' 'The one and only person, that holds the key to my freedom: WILL NEVER LET ME GO! It's like there is within me, and has been deep inside me!' 'I now live in this small dull town for too damn long. It is an UNSYMPATHETIC, obscure, lonely, totally depressed, and depressing place, for any teenage girl to be, most definitely if you're a girl like me.' 'All these streets surrounding me are covered with filth, and born in the hills of middle western Pennsylvania mentalities of slow-talking and deep heritages, and beliefs, that don't operate me as a soul lost and lingering within the streets and halls.' 'My old town was ultimately left behind when the municipality neighboring made the alterations to the main roads; just to save five minutes of commuting, through this countryside village. Now my town sits on one side of that highway.' 'Just like a dead carcass to the rest of the world, which rushes by. What is sullen about this is that it is a historic town, with some immeasurable old monuments, and landmarks.' 'However, the others I see downright neglect what is here, just like me, it seems. Other than me, no one cares. Yet I care about all the little things.' 'I am so attached to all these trivial things as if they are a part of me. It disheartens me to see anything go away from me.' 'It's a community where the litter blows and bisects the road, like the tumble-wheats of the yore of times past.' 'Furthermore, if you do not look where you are going, you will fall in our trip, in one of the many potholes or heaved up bumps in the pavement, or have an evacuated structure masonry descending on your head.' 'Merely one foolproof way of simplifying the appearance of this ghost town.' 'There are still some reminders of the glory days when you glance around.' 'Like the town clock, that is evaporated black that has chipped enamel; it seems that it is always missing a few light bulbs.' 'The timepiece only has time pointing hands on the one side, and it nevermore shows the right time of day.' 'The same can be assumed for the neon signs on the mom-and-pop shops, which flicker at night as if they're in agonizing PAIN.' 'Why? To me is a question that is asked frequently.' 'It is all over negligence!' 'I get the sense and feeling most of the time, as they must prepare when looking around here at night.' 'The streetlamps do not all work, as they should. The glass in them is cracked.' 'The parking meters are always jammed, or just completely broken off their posts altogether.' 'The same can be said, for the town sign that titles this area. It is not even here anymore, as it should be now moved to the town square or shortage of a park.
Marcel Ray Duriez (Walking the Halls (Nevaeh))
We didn’t bother to handcuff him, which surprised Agent Reynolds. Kittredge told her it was Metropolitan Police policy to avoid handcuffing suspects unless physical restraint is necessary—thus avoiding the risk of chafing, positional asphyxiation, and injury sustained by falling over your own feet and smacking your face into the pavement.
Ben Aaronovitch (Whispers Under Ground (Rivers of London #3))
stepped from the pavement into the tiny lobby and turned immediately left to climb the stairs to the first floor. There was one reasonably sized bedroom, a living room about the same size with a kitchen area in one corner, and a small shower room. It was newly redecorated, the kitchen well equipped, despite the lack of space, and it was light and airy. There was just enough room for her books. It wasn’t perfect for guests though, and Daniel couldn’t stay long. Lauren had made it very clear this was a temporary arrangement. She was happy to help, but she’d chosen not to have flatmates, so he knew it wouldn’t be long-term. During his time there, she expected him to find something to do, somewhere to go, and then she’d maybe let him stay until he could move. As long as she knew he would be going. Lauren had always been like this. Fiercely independent, fiercely territorial. As a child she’d put large notices on her bedroom door: Keep Out Or Else! And later, Enter At Your Peril, All Who Approach. Even their mum wasn’t allowed in. Lauren cleaned the room herself, changed her own bed and kept the door shut. Once, Daniel had ventured in while his sister was at her music lesson. He only wanted to see what was in there, what was so important that nobody was allowed in.
Susanna Beard (The Perfect Witness)
Single Mothers Your shoulders are heavy, but you stand tall and raise your head high, knowing that you are raising kings and queens, future leaders of the world. You are pounding the pavement, kicking butt, making it look easy but we know better; we know the struggle, we understand the pain. The road feels lonely but you are not alone.
Janet Autherine (The Heart and Soul of Black Women: Poems of Love, Struggle and Resilience)
We cannot, of course, physically harm the President of the United States, but it is not illegal to lead him into a bramble, some uneven pavement, rocky terrain. Let your deteriorating roads, bridges, and public schools work for us.
Maria Bamford (Weakness is the Brand)
Restorative yoga is just one way to slow down the DMN. Once you start searching, there are plenty of good mindfulness exercises that can “ground” you—get you out of your damn head and into the world. I started trying all of them out and asking friends what worked for them. For some people, popping an ice cube into their mouth or eating a big bite of wasabi helps shock their systems into paying attention to a sensory experience. A journalist I knew had a lot of success tapping his face and hands. Lacey loves to focus on the rhythmic feeling of her feet hitting the pavement during a long walk or taking a swim in icy water. Another friend melts into a happy puddle when she covers herself with her weighted blanket.
Stephanie Foo (What My Bones Know: A Memoir of Healing from Complex Trauma)
Anger provides the No. 1 difference between a fist-fight and a boxing bout. Anger is an unwelcome guest in any department of boxing. From the first time a chap draws on gloves as a beginner, he is taught to "keep his temper"-never to "lose his head." When a boxer gives way to anger, he becomes a "natural" fighter who tosses science into the bucket. When that occurs in the amateur or professional ring, the lost-head fighter leaves himself open and becomes an easy target for a sharpshooting opponent. Because an angry fighter usually is a helpless fighter in the ring, many prominent professionals-like Abe Attell and the late Kid McCoy- tried to taunt fiery opponents into losing their heads and "opening up." Anger rarely flares in a boxing match. Different, indeed, is the mental condition governing a fist-fight. In that brand of combat, anger invariably is the fuel propelling one or both contestants. And when an angry, berserk chap is whaling away in a fist-fight, he usually forgets all about rules-if he ever knew any. That brings us to difference No. 2: THE REFEREE ENFORCES THE RULES IN A BOXING MATCH; BUT THERE ARE NO OFFICIALS AT A FIST-FIGHT. Since a fist-fight has no supervision, it can develop into a roughhouse affair in which anything goes. There's no one to prevent low blows, butting, kicking, eye-gouging, biting and strangling. When angry fighters fall into a clinch, there's no one to separate them. Wrestling often ensues. A fellow may be thrown to earth, floor, or pavement. He can be hammered when down, or even be "given the boots"- kicked in the faceunless some humane bystander interferes. And you can't count on bystanders. A third difference is this: A FIST-FIGHT IS NOT PRECEDED BY MATCHMAKING. In boxing, matches are made according to weights and comparative abilities. For example, if you're an amateur or professional lightweight boxer, you'll probably be paired off against a chap of approximately your poundage-one who weighs between 126 and 135 pounds. And you'll generally be matched with a fellow whose ability is rated about on a par with your own, to insure an interesting bout and to prevent injury to either. If you boast only nine professional fights, there's little danger of your being tossed in with a top-flighter or a champion.
Jack Dempsey (Toledo arts: championship fighting and agressive defence)
love the feeling of your feet pounding against pavement and rattling your whole skeleton while your heart jackhammers in your chest and your lungs fight for breath?
Emily Henry (People We Meet on Vacation)
Yeah, you gotta stomp down on your emotions until they rise up, grab you by the throat, shake you around a little, and then grind you into the pavement. I’ve done that.
Amy Lane (Constantly Cotton (The Flophouse, #2))
slow, rich roll of his Caribbean accent. Some of his ‘t’s were closer to ‘d’, as was his ‘th’. It was a voice that sent a tiny shiver down her spine. She was surprised at how hypnotic she found it, but knew she wanted to hear more. ‘Come on.’ Dot started to trot along the pavement. Sol tried to keep up. ‘You got quite a wiggle there, girl.’ Dot glanced to her right and smiled again, unaware that she had ‘quite a wiggle’. She felt a bubble of happiness swell inside her. ‘Where are we going? Selfridges?’ ‘Maybe, eventually, but I thought we could get a coffee first. It’ll warm you up and before I introduce you to people I work with, I want to get to know you a bit.’ ‘That sounds like you’re giving me an
Amanda Prowse (Clover's Child)
Skiddy Cottontail—that was his name—and he defended LGBT equality. He was a flamboyant, colorful striped rabbit, with a headdress of a rainbow crown on his forehead. The radiance of his energy was violet, scarlet, and turquoise; as it represented his love for everyone. In the infancy years of his existence, he was abandoned—alone—unwanted—unloved; rejected by a world that disdains him. His father wished him deceased, his family exiled him from the warren, he was physically mistreated and preyed on by homophobic mobs in the surrounding community by Elephants—Hyenas—rats. They splashed spit at his face, advising him that God condemns homosexuality—as Christ did not. They would slam him on the pavement with their Bibles, strike him in the stomach with their feet, throw boulders of stone at his body: imploring—abusing—condemning him to a tyrannical sentence. Skiddy Cottontail thought that his existence would end with this case of cruelty—violence—assault that was perpetrated against him. He wanted to cease to exist— he wanted to commit the ultimate murder on himself—he no more desired to go on living— he realized hope is already deceased. He yearned to have the courage to emerge, to discover his bravery that would sever this spiral of sensations of oppression. Being a victim made him a slave to his opponent—as his adversaries have full leverage against him. Life has become a thread of light, which he longed to be liberated from its shackles. His demon—a voice that keeps blaming him for his crimes in the back of his mind—a glass that continually cracks in his heart—will keep breaking him if he does not devise a way out of this crisis. He was conscious by his innermost conviction that there was candlelight with a key that had the potential to illuminate a new chapter that will erase this trail of obscurity behind him. He sees a new horizon with greater comprehension, a journey that can give him the roses of affection than a handful of dead birds that his adversaries handed him along the way. The stunning blossoming trees did have a forest—beautiful greenery that was colorful like the rainbow in the Heavens. This home will embrace him with a warm embrace of open arms, where cruelty is forbidden; where adoration can forever abound. Dawn will know him when he arrives. No more hurricanes or strife will be here—no crying of a sad humanity are here—only a gift of harmony and devotion, beyond all explanation, will abide in the heart of Skiddy Cottontail—when he finds his way out from this opponent world for a beautiful existence that is called liberation. Skiddy Cottontail has found a happiness that can only bring him contentment like nothing in this hurtful world can. Find your own sense of balance like him, Skiddy Cottontail, and you will experience serenity as much as him.
Be Daring like Skiddy Cottontail by D.L. Lewis
Get the dogshit out of your ears, you witless corpse-fart,’ growled Jean. ‘Do you want to do as you’re told, or do you want to kiss that pavement?’ It turned out he wanted to do as he was told.
Scott Lynch (The Republic of Thieves (Gentleman Bastard, #3))
Sticky bun with your brew?’ Alice laughed. Sadie’s observations were probably right. ‘Oh yes please. I’ll find us a place to sit.’ She grabbed a table by the window that four girls were just vacating and sat down, looking out at the street below where some workmen were carrying hods of bricks and others, standing on scaffolding, were throwing chunks of damaged masonry down to the area of pavement that was fenced off from public use. It was such a shame. The damage to the store was so extensive, it might have been easier to demolish the lot and rebuild from scratch. But at least they had jobs and that was something to be thankful for. Many women who had held things together while the men were away fighting had since found themselves out of work, losing the jobs they’d loved to the returning male workforce. ‘No sticky buns so I got a couple of scones,’ Sadie said as she came to the table with a tray. ‘Hope that’s okay?’ ‘Fine by me,’ Alice said. ‘I’m starving.’ She
Pam Howes (The Shop Girls of Lark Lane (Lark Lane, #2))
There you were in broken pieces No one saved the day You grabbed the duct tape and salvation And fixed your problems anyway You left fragments of your heart though On the cracked pavement beneath Not enough for you to bleed out You’re just unsteady on the beat I’ll hold you while you bleed on me And I’ll soothe away your pain I’ll use silk instead of duct tape Which is serviceable and plain I’ll stop up all your leaky parts I’ll seal up all your cracks But whether you’re fixed or broke I need you to come back Just promise me no matter what You’ll still be coming back I’ll put together all your pieces If only you come back.
Amy Lane (Paint It Black (Beneath the Stain, #2))
It was the fire of justice that was burning through Townhouse now. The fire of justice that appeases the injured spirit and sets the record straight. The third blow was an uppercut that put me flat on the pavement. It was a thing of beauty, I tell you. Townhouse took two steps back, heaving a little from the exertion, the sweat running down his forehead. Then he took another step back like he needed to, like he was worried that if he were any closer, he would hit me again and again, and might not be able to stop. I gave him the friendly wave of one crying uncle. Then being careful to take my time so the blood wouldn’t rush from my head, I got back on my feet. —That’s the stuff, I said with a smile, after spitting some blood on the sidewalk. —Now we’re square, said Townhouse. —Now we’re square, I agreed, and I stuck out my hand. Townhouse stared at it for a moment. Then he took it in a firm grip and looked me eye to eye—like we were the presidents of two nations who had just signed an armistice after generations of discord. At that moment, we were both towering over the boys, and they knew it. You could tell from the expressions of respect on the faces of Otis and the teens, and the expression of dejection on the face of Maurice. I felt bad for him. Not man enough to be a man, or child enough to be a child, not black enough to be black, or white enough to be white, Maurice just couldn’t seem to find his place in the world. It made me want to tussle his hair and assure him that one day everything was going to be all right. But it was time to move along. Letting go of Townhouse’s hand, I gave him a tip of the hat. —See you round, pardner, I said. —Sure, said Townhouse. I’d felt pretty good when I settled the scores with the cowboy and Ackerly, knowing that I was playing some small role in balancing the scales of justice. But those feelings were nothing compared to the satisfaction I felt after letting Townhouse settle his score with me. Sister Agnes had always said that good deeds can be habit forming. And I guess she was right, because having given Sally’s jam to the kids at St. Nick’s, as I was about to leave Townhouse’s stoop I found myself turning back. —Hey, Maurice, I called. He looked up with the same expression of dejection, but with a touch of uncertainty too. —See that baby-blue Studebaker over there? —Yeah? —She’s all yours. Then I tossed him the keys. I would have loved to see the look on his face when he caught them. But I had already turned away and was striding down the middle of 126th Street with the sun at my back, thinking: Harrison Hewett, here I come.
Amor Towles (The Lincoln Highway)
Your God person puts an apple tree in the middle of a garden and says, do what you like guys, oh, but don’t eat the apple. Surprise surprise, they eat it and he leaps out from behind a bush shouting ‘Gotcha.’ It wouldn’t have made any difference if they hadn’t eaten it.” “Why not?” “Because if you’re dealing with somebody who has the sort of mentality which likes leaving hats on the pavement with bricks under them you know perfectly well they won’t give up. They’ll get you in the end.
Douglas Adams (The Ultimate Hitchhiker's Guide to the Galaxy (Hitchhiker's Guide to the Galaxy #1-5))
The night air was crystal-still. When she listened, Kris heard the blood pulse in her ears. Nothing could be more different from Los Angeles: from its hard, unwinking lights; the ceaseless, restless movement of cars and people; the background rumble of engines and brakes and tires rolling on hot pavement; and the city’s grit blown against your skin, plugging your nose, coating your mouth, and sticking to your sweat.
Russell Heath (Broken Angels)
Once a plane is in the air, you can't even leave it! I've tried! They won't let you! You have to wait until 'they land'. This shadowy, depersonalised, frankly militaristic 'they' (why should I call the pilot 'captain' - I didn't join his army) is what makes commercial air travel so Orwellian. Say you want to take a nap, what do you ordinarily do? Take off your trousers, clear a space on the floor and maybe set an alarm on your phone. Sometimes I've lain down on the pavement for a week, and no one has bothered me. People on my street know me, and they'll either hop over or take a brief detour into the road. On a plane it's all, 'Sir, you're blocking the trolley.' Don't call me 'sir' and then tell me what to do!
Richard Ayoade
cracked skull like watermelon shells dripping on the pavement. i reach into your pomegranate brain, harvesting the bittersweet seeds. acrid juice stings your eyes, turning them bloodshot.
Sofiya Ivanova (Hindsight: a poetry collection)
This shadowy, depersonalised, frankly militaristic ‘they’ (why should I call the pilot ‘captain’ – I didn’t join his army) is what makes commercial air travel so Orwellian. Say you want to take a nap, what do you ordinarily do? Take off your trousers, clear a space on the floor and maybe set an alarm on your phone. Sometimes I’ve lain down on the pavement for a week, and no one has bothered me. People on my street know me, and they’ll either hop over or take a brief detour into the road. On a plane it’s all, ‘Sir, you’re blocking the trolley.’ Don’t call me ‘sir’ and then tell me what to do! Even the homeless get to sleep lying down. A squatting vagrant huddled in his hovel has more room than the ‘executive’ in business class. How can it be a business-class service if you don’t get your own toilet? Some of the worst things I’ve ever smelt I’ve smelt after opening a business-class toilet. And I’m the one embarrassing myself?! Please. Go smell what’s in the business-class toilets, and then we’ll talk.
Richard Ayoade (Ayoade on Top)
Following the rules is like walking on a garden pavement. Rebelling against them is like deliberately avoiding the pavement; the pavement still remains in your head and dictates your path.
I glance back at the church and can’t help giggling. The entire congregation seems to have spilled out of the church and is standing on the pavement like an audience. “What are they waiting to see?” Sam follows my gaze, and I shrug. “Who knows? You could always do a dance. Or tell a joke. Or … kiss the bride?” “Not the bride.” He wraps his arms around me and gradually pulls me close. Our noses are practically touching. I can see right into his eyes. I can feel the warmth of his skin. “You.” “Me.” “The girl who stole my phone.” His lips brush against the corner of my mouth. “The thief.” “It was in a bin.” “Still stealing.” “No, it isn’t—” I begin, but now his mouth is firmly on mine and I can’t speak at all. And suddenly life is good.
Sophie Kinsella (I've Got Your Number)
The best part of being a valet is getting to drive some of the coolest cars ever to touch pavement. Guests came in driving Ferraris, Lamborghinis, Rolls-Royces--the whole aristocratic fleet. It was my dream to have one of these cars of my own, because (I thought) they sent such a strong signal to others that you made it. You're smart. You're rich. You have taste. You're important. Look at me. The irony is that I rarely ever looked at them, the drivers. When you see someone driving a nice car, you rarely think, " Wow, the guy driving that car is cool." Instead, you think, "Wow, if I had that car people would think I'm cool." Subconscious or not, this is how people think. There is a paradox here: people tend to want wealth to signal to others that they should be liked or admired. But in reality those other people often bypass admiring you, not because they don't think wealth is admirable, but because they use your wealth as a benchmark for their own desire to be liked and admired. The letter I wrote to my son after he was born said, "You might think you want an expensive car, a fancy watch, and a huge house. But I'm telling you, you don't. What you want is respect and admiration from other people, and you think having expensive stuff will bring it. It almost never does--especially from the people you want to respect and admire you." It's a subtle recognition that people generally aspire to be respected and admired by others, and using money to buy fancy things may bring less of it than you imagine. If respect and admiration are your goals, be careful how you seek it. Humility, kindness, and empathy will bring you more respect than horsepower ever will.
Morgan Housel (The Psychology of Money)
It would be easier to cover your ears,” I suggested. Meg retracted her blades. She rummaged through her supplies while the rumble of the chariot’s wheels got faster and closer. “Hurry,” I said. Meg ripped open a pack of seeds. She sprinkled some in each of her ear canals, then pinched her nose and exhaled. Tufts of bluebonnets sprouted from her ears. “That’s interesting,” Piper said. “WHAT?” Meg shouted. Piper shook her head. Never mind. Meg offered us bluebonnet seeds. We both declined. Piper, I guessed, was naturally resistant to other charmspeakers. As for me, I did not intend to get close enough to be Medea’s primary target. Nor did I have Meg’s weakness—a conflicted desire, misguided but powerful, to please her stepfather and reclaim some semblance of home and family—which Medea could and would exploit. Besides, the idea of walking around with lupines sticking out of my ears made me queasy. “Get ready,” I warned. “WHAT?” Meg asked. I pointed at Medea’s chariot, now charging toward us out of the gloom. I traced my finger across my throat, the universal sign for kill that sorceress and her dragons. Meg summoned her swords. She charged the sun dragons as if they were not ten times her size. Medea yelled with what sounded like real concern, “Move, Meg!” Meg charged on, her festive ear protection bouncing up and down like giant blue dragonfly wings. Just before a head-on collision, Piper shouted, “DRAGONS, HALT!” Medea countered, “DRAGONS, GO!” The result: chaos not seen since Plan Thermopylae. The beasts lurched in their harnesses, Right Dragon charging forward, Left Dragon stopping completely. Right stumbled, pulling Left forward so the two dragons crashed together. The yoke twisted and the chariot toppled sideways, throwing Medea across the pavement like a cow from a catapult. Before the dragons could recover, Meg plunged in with her double blades. She beheaded Left and Right, releasing from their bodies a blast of heat so intense my sinuses sizzled. Piper ran forward and yanked her dagger from the dead dragon’s eye. “Good job,” she told Meg. “WHAT?” Meg asked.
Rick Riordan (The Burning Maze (The Trials of Apollo, #3))
When it comes to looking for new ideas in physics, there are, very broadly, two kinds of researchers. Imagine you’re walking home on a dark, moonless night when you realise that there’s a hole in your coat pocket through which your keys must have fallen at some point along your route. You know they have to be somewhere on the ground along the stretch of pavement you’ve just walked, so you retrace your steps. But do you only search the patches bathed in light beneath lampposts? After all, while these areas cover only a fraction of the pavement, at least you will see your keys if they are there. Or do you grope around in the dark stretches in between the pools of lamplight? Your keys may be more likely to be here, but
Jim Al-Khalili (The World According to Physics)
Adaptation is very effective at cooling cities, (e.g.) cool roofs and pavements… Adaptive actions can typically deliver much more protection much faster and at a lower cost than any realistic carbon-reduction climate policy. -pp. 192, 194 ‘Geoengineering’ essentially means deliberately adjusting the planet’s temperature control...It is a partial solution to climate change that is worth RESEARCHING. (It is) a backup plan that we could turn to, if we don’t manage to get everyone to do everything needed on carbon taxes, innovation, and adaptation.” Examples: stratosphereic aerosol injection (“which mimics a volcano’s effect on the climate, without the carnage” -p. 196), “marine cloud brightening (“increase the number of salt sea particles in the air over the oceans...whiter clouds reflect more solar energy back into space, thus cooling the planet -p 196) Lifting counties out of poverty is an essential but underdiscussed approach to mitigating the damage of climate change… If you’re poor, you burn cheap, dirty fuel. If you’re richer, you can afford to subsidize wind turbines. -p. 203, 204
Bjorn Lomborg
I love you, Achilles Odyssey” Deirdre said, and Achilles had never felt more happy. His heart raced, and his palms got sweaty as he looked into those honey-brown eyes and said,“Ah yes, that’s the problem. I can’t love you. I love you more than anything in this world, in this universe. But I’m a God and you’re a human and one day you’ll be gone and I’ll be there and my heart will shatter and I’ll never love someone again. And one day you’ll realize what you’re doing, who you’re dating, what you’re getting yourself into, and you’ll leave, and you’ll love someone else and you’ll tell them you love them just like you told me and I will never, never get over that. I love you, Deirdre Ameyfarm, but I can’t be here anymore. I have to...” His breath caught in his throat as he swallowed a sob. “leave. For good.” [NOTE: this quote is from a prompt: When someone’s heart breaks, so does the rest of our world. This creates valleys, fissures, and cracks in the pavement. What’s the story behind the Grand Canyon?]
Clara Bodniewicz
Yes, you might have been born with an innate ability to nurture, and you might feel mothering is your highest calling. But I know that somewhere, maybe deep inside of you, another desire burns. One that is just for you. It might be ignited when you sit down with a good book and a candle burning, in solitude. Or it might be awakened when your feet hit the pavement for an early morning run. Whatever it is, find it.
Jessica N. Turner (The Fringe Hours: Making Time for You)
Getting dirty is the whole point. If you're getting dirty, that means that you have traveled to where there is no pavement. When you sojourn into such terrain, you greatly up your chances of experiencing some full-on wild nature.
Nick Offerman (Paddle Your Own Canoe: One Man's Fundamentals for Delicious Living)
Drew winced. “My back hurts. What did you do to me in your front yard? One minute I was standing, then I was flat on my back in the grass.” “I swept the leg,” she said matter-of-factly. “But why?” “Why not? It’s the fastest way to get someone to the ground.” “But we were standing on your lawn.” “Exactly. We were on nice, soft grass. I would have wrestled you sooner, but it’s not safe on the pavement.” “Do you always wrestle with guys?” “Just the ones I like.” She tapped him on the nose. “Boop.” He tapped her right back. “Boop.” She asked, “Now that I’ve taught you to watch out for the leg sweep, what else can I do for you? Breakfast in bed? Pack you a bagged lunch for work today?” He checked the time on her alarm clock. “It’s Saturday, which is a light day, but I do have a few patients after lunch.” “What do you mean it’s a light day? You’re not fully booked? You must not be a very good dentist. Maybe I should get a second opinion on that cap you glued into my mouth all willy-nilly.” He dropped his jaw in mock outrage. “Not a very good dentist? Those are fighting words, you bad girl.” She raised her eyebrows. “Want to take this back out to the front lawn?” “I think we gave your neighbors enough of a show last night.” “True,” she said. “Plus, we already got grass stains all over one change of clothes.” He wrinkled his nose. “Grass stains.” He groaned. He leaned back, resting his head on Megan’s second pillow, where Muffins normally slept. The sea-foam-green linens were a perfect complement to his skin tone. His brown eyes were a rich chocolate with bright flecks and an inner ring that was nearly green. The sheets had been purchased to complement Muffins, with his orange fur and entirely green eyes, but they looked even better around Dr. Drew Morgan. Drew asked, “What are you thinking about?” He reached up to run his fingers through her tangled morning hair. She normally hated that, but it felt good when Drew did it. “I’m thinking that you look really good in my sheets. You look good in sea-foam green.” “Thanks.” He grinned. “I can’t wait to see how you look in my bed.” “You think you’re going to get me into your bed?” “Sure. I know how it’s done. You just sweep the leg.” “I shouldn’t have told you all my secrets.” Muffins returned and situated himself between them for a bath. Drew propped himself up on one elbow and petted the cat. “So what do I have to do to get you to my place in the first place?” “Reverse psychology works well on me. You could tell me to never come over. You could ban me from your house.” He chuckled. “Whatever you do, don’t show up naked under a trench coat.” “What makes you think I’d show up naked in a trench coat?” “You’re a wild girl. Exactly what I need right now.” “You need me? Are we talking about, like, a medical type of emergency?” “You tell me.” He scooped up Muffins, placed him on the chair next to the bed, and pulled Megan close to him.
Angie Pepper (Romancing the Complicated Girl)
These are the years of lonely nights. There may be no one to talk to for years other than a notebook, a dead role model, a pet, a lamp post, or just your sad footsteps scraping against pavement. This doesn’t make sense, but it will.
Karl Kristian Flores (The Goodbye Song)
Training Effect Our perception of the threat has a direct and dramatic effect of the rate and severity that Body Alarm Reaction will occur. By continual exposure to certain aspects of an attack, or visual perception of an attacker, we can reduce the speed and degree that we fall into automatic body response. By doing realistic self-defense drills we can condition ourselves to the threat of a “haymaker” punch. The more we practice against a specific threat our brain and body becomes well conditioned to that particular stimulus. The more realistic the practice, by increasing speed and intensity, the greater the conditioning level to a realistic attack. This is referred to as Training Effect. An individual that has never practiced any self-defense technique against a “haymaker” punch will ascend into a higher state of Body Alarm Reaction than someone that practices against them. Likewise, someone that trains against full speed, high intensity “haymaker” punches will be in a less state than someone that trains at half-speed. Training Effect can give any martial artist a false sense of security. By developing a high level of skill in the execution of a particular technique, one can be lulled into the falsehood of believing that they have moved beyond the “hold” of Body Alarm Reaction. What they do not realize is that by introducing an Unconditioned Element into the situation that they will automatically slip into Body Alarm Reaction to some degree. The addition of an unconditioned element can occur at any time during a self-defense encounter. Let us assume that someone is attacking with a “haymaker” punch. You have spent many hours perfecting a technique to defend against such an attack and are confident on your ability to execute it properly. You have incorporated the knowledge of what occurs during Body Alarm Reaction into the technique. You have practiced this technique at full speed and from every conceivable angle. It works and you know that it works. You feel confident about the technique and have successfully conditioned yourself to this type of attack — you think. Now as this actual attack is taking place, all that is required to send you into full-blown Body Alarm Reaction is the introduction of an unconditioned element. It can be a slip on wet pavement during the initial execution. It can be an overly large and aggressive attacker. Someone that is much larger, and more frightening, than the training partners that you have worked with in honing this technique. It can be the addition of another potential attacker that is the friend, or colleague, of the one that you are facing. It can be any number of events or circumstances that will cause you to start slipping into Body Alarm Reaction. It is necessary to understand that any one of us can become a victim of this automatic response, even if we have been incorporating the knowledge into our training methods. We are also prone to fall into Body Alarm Reaction due to our perception of visual threats. Our visual recognition of a potential threat has a direct bearing on the initial onset of Body Alarm Reaction.
Rand Cardwell (The 36 Deadly Bubishi Points: The Science and Technique of Pressure Point Fighting - Defend Yourself Against Pressure Point Attacks!)
THE NEXT DAY WAS RAIN-SOAKED and smelled of thick sweet caramel, warm coconut and ginger. A nearby bakery fanned its daily offerings. A lapis lazuli sky was blanketed by gunmetal gray clouds as it wept crocodile tears across the parched Los Angeles landscape. When Ivy was a child and she overheard adults talking about their break-ups, in her young feeble-formed mind, she imagined it in the most literal of essences. She once heard her mother speaking of her break up with an emotionally unavailable man. She said they broke up on 69th Street. Ivy visualized her mother and that man breaking into countless fragments, like a spilled box of jigsaw pieces. And she imagined them shattered in broken shards, being blown down the pavement of 69th Street. For some reason, on the drive home from Marcel’s apartment that next morning, all Ivy could think about was her mother and that faceless man in broken pieces, perhaps some aspects of them still stuck in cracks and crevices of the sidewalk, mistaken as grit. She couldn’t get the image of Marcel having his seizure out of her mind. It left a burning sensation in the center of her chest. An incessant flame torched her lungs, chest, and even the back door of her tongue. Witnessing someone you cared about experiencing a seizure was one of those things that scribed itself indelibly on the canvas of your mind. It was gut-wrenching. Graphic and out-of-body, it was the stuff that post traumatic stress syndrome was made of.
Brandi L. Bates (Remains To Be Seen)
Xxx there is a certain kind of peace that you find in the middle of a city when you are the only one on the street, and you can hear your footsteps echo on the dry pavement, xxx
Steven Brust (Agyar)
Tell you what,’ Stuart goads across the pavement at the huge officer who’s rolled down his window to wish us good-night, ‘since you got so much fucking time on your hands, answer this one for me. Ten people on the street beat the fucking crap out of somebody and they’d all get ten years for it, where, in prison, your mates put on shields and riot gear and fucking pour into somebody’s cell and do the same thing, and they’re doing a public service. Explain that. And then they wonder why the person they just beat up so there’s blood all across the walls and screaming what can be heard from one end of the wing to the other doesn’t turn into a nice boy. Do you know what I mean? Do you? Do you? Nah, of course not. You ain’t got the faintest fucking clue, have you?
Alexander Masters (Stuart: A Life Backwards)
Where are the faces that somehow imprinted their features on your memory for ever, and the faces whose details have been erased and whose ghostly passage across the screen of your memory keeps you awake at night? Where are the smells that mysteriously preserve the images and feelings you secretly treasure? Where are the pavements, the cold, life when it became just a lucky coincidence, the skies as low as a wall of grey, the long sleepless nights, the cough, the stubborn hopes, the dancing lights of return?
Amjad Nasser (Land of No Rain)
No work again today, huh? You should be pounding the pavement instead of playing computer games. At least get some exercise. How do you expect to find a woman if you’re all pasty and scrawny? Guess the family name’s dying with you. No work again today, huh?
Daniel Price (The Flight of the Silvers (Silvers, #1))
He slowed down at Santa Monica Boulevard, edging around a bedraggled old lady who wore a pink Afro wig and a long skirt dragging the pavement behind her. She turned to hiss at the police car and rattle the shopping cart heaped with plastic bags that she was stealing from the nearby Whole Foods market. What lady? What’s your problem?
Mar Preston (On Behalf of the Family (A Detective Dave Mason Mystery Book 3))
Al is the upside down man. Back home, you work all day and night to learn how to paint, learn linseed and cadmium and badger-hair and perspective, which is just math in art-school drag, you know? And maybe you still can't do anything worth phoning the Met over. But hey, getting a boy to fuck you is just the easiest thing since Sunday naps. Up top, getting drunk at a party is what you do when you're all out of art. But in...Canada? Are we calling it Canada now? Ok! Al's the King of Canada and he says: fuck that for a lark! The world feels like being a bastard-and-a-half this decade, let's play nine-pins on its grave. Down here it's all the same! Kiss a boy and books come out! Ralph up Parthenons into the upstairs toilet! Dance poems, shit showtunes! Art is easy! Pick up genius at the corner shop! Sell your soul and half your shoes for a glass of gin!' He looks up at Zelda Fair and his poor goblin face goes all twisted up and desperate. 'It's all fucked anyway, you see? The end of the world already happened. It's happening all the time. It's gonna happen again. And again after that. Just when you think it's done falling on its face, the world picks itself up and throws itself off a roof. Boom. Pavement. The world's ending forever and ever and we're not even allowed to toast at her funeral. So we gotta do something else or she won't know we ever loved her.
Catherynne M. Valente (Speak Easy)
Like a football being held underwater, as soon as you let go, it rises to the surface. And like the grass pressing up through the cracks in a city pavement, your resilience and clarity is always doing its best to find its way through the paving slabs of your superstitious thinking.
Jamie Smart (Clarity: Clear Mind, Better Performance, Bigger Results)
Likewise, your absence would leave a hole in this world. And while your presence might go unnoticed at times, your absence would actually take something away from the lives around you, like a pothole removes the smoothness of pavement.
John Herrick (8 Reasons Your Life Matters)
He tossed the dumbbell aside. It went flying and hit with a loud thud, leaving a dent in the pavement of the roof. Curran strode toward me, eyes blazing. “If I let her go, I’ll need a replacement. Want to volunteer for the job?” He looked like he wouldn’t be taking no for an answer. I swiped Slayer from its sheath and backed away from the edge of the roof. “And be girlfriend number twenty-three soon to be dumped in favor of girlfriend number twenty-four who has slightly bigger boobs? I don’t think so.” He kept coming. “Oh yeah?” “Yeah. You get these beautiful women, make them dependent on you, and then dump them. Well, this time a woman left you first, and your enormous ego can’t deal with it. And to think that I hoped we could talk like reasonable adults. If we were the last two people on Earth, I’d find myself a moving island so I could get the hell away from you.” I was almost to the drop door leading to the ladder. He stopped suddenly and crossed his arms over his chest. “We’ll see.” “Nothing to see. Thanks for the recue and for the food. I’m taking my kid and leaving.” I dropped into the hole, slid down the ladder, and backed away down the hall. He didn’t follow me. I was midway down to the first floor when it finally hit me: I had just told the alpha of all shapeshifters that hell would freeze over before I got into his bed. Not only had I just kissed any cooperation from the Pack good-bye, but I had also challenged him. Again. I stopped and hit my head a few times on the wall. Keep your mouth shut, stupid. Derek appeared at the bottom of the stairway. “It went that well, huh?” “Spare me.
Ilona Andrews (Magic Burns (Kate Daniels, #2))
Alex!” Brittany yells my name from the front of the gallery. I’m still smoking and trying to forget that she brought me here because I’m her dirty little secret. I don’t want to be a fucking secret anymore. My pseudo-girlfriend crosses the street. Her designer shoes click on the pavement, reminding me she’s a class above. She eyes Mandy and me, the two blue collars, smoking together. “Mandy here was about to show me her tattoos,” I tell Brittany to piss her off. “I’ll bet she was. Were you going to show her yours, too?” She eyes me accusingly. “I’m not into drama,” Mandy says. She throws down her cigarette and smashes it with the tip of her gym shoe. “Good luck, you two. God knows you need it.
Simone Elkeles (Perfect Chemistry (Perfect Chemistry, #1))
As I reached Charing Cross I heard a gruff shout of ‘By Your Leave, sir!’ and footsteps pounding hard behind me. I jumped aside, narrowly avoiding collision with a sedan chair jolting fast along the pavement, the man inside gripping the window edges hard to stop himself being flung about. The second chairman tipped his chin in thanks as he passed, but his passenger leaned out and glared back at me in outrage. He was an older man in his fifties with a red, sweating face. ‘Damn fool!’ he cried, spittle spraying from his lips. I halted in surprise at his rudeness, searching for a suitable reply. A waterman turning for home watched the chair bobbing its way down the Mall. ‘Twat,’ he observed, cheerfully. That would do. I touched my hat in appreciation and pressed on. On
Antonia Hodgson (The Last Confession of Thomas Hawkins (Tom Hawkins, #2))
own. That was the reflection that made you creepy all over. It was impossible—it was not good for one either—trying to imagine. He had taken a high seat amongst the devils of the land—I mean literally. You can't understand. How could you?—with solid pavement under your feet, surrounded by kind neighbors ready to cheer you or to fall on you, stepping delicately between the butcher and the policeman, in the holy terror of scandal and gallows and lunatic asylums—how can you imagine what particular region of the first ages a man's untrammeled feet may take him into by the way of solitude—utter solitude without a policeman—by the way of silence, utter silence,
Joseph Conrad (Heart of Darkness)
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 in 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.
Caitlin Moran (How to Build a Girl)
people. Police usually release the innocent on the street—often without a ticket, citation, or even an apology—so their stories are rarely heard in court. Hardly anyone files a complaint, because the last thing most people want to do after experiencing a frightening and intrusive encounter with the police is show up at the police station where the officer works and attract more attention to themselves. For good reason, many people—especially poor people of color—fear police harassment, retaliation, and abuse. After having your car torn apart by the police in a futile search for drugs, or being forced to lie spread-eagled on the pavement while the police search you and interrogate you for no reason at all, how much confidence do you have in law enforcement? Do you expect to get a fair hearing? Those who try to find an attorney to represent them in a lawsuit often learn that unless they have broken bones (and no criminal record), private attorneys are unlikely to be interested in their case.
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
Really, Gareth, His Grace was not unkind to me. He gave me a huge amount of money —" "I don't care what he gave you, you traveled three thousand miles to get here, and what does he damn well do? Pays you off like some — some creditor or something!  You, who ought to be treated as a member of our family, not a piece of unwanted baggage!  I cannot forgive him, Juliet. Do not ask it of me!" "I'm not asking it of you, but surely you can swallow your pride just for one night, if only for the sake of your niece." He stared at her, furious. "Er ... daughter," she corrected, lamely. Through his teeth he gritted, "We are not staying at de Montforte House or Blackheath Castle or any of Lucien's other estates, and I'll hear no more about it!"  He made a fist and pressed it to his forehead, trying to keep his temper under control even as Perry made a noise of impatient disgust and Charlotte's endless screaming threatened to drown out all thought, all sanity. Perry chose the wrong moment to be sarcastic. "Well done, my friend. You have just succeeded in showing your unsuspecting bride that there is indeed another side to you. Were you beginning to think your new lord was all syrupy sweetness, Lady Gareth?" Gareth's patience broke, and with a snarl, he went for his sword. Juliet grabbed his arm just in time. "Stop it, the both of you!  Really, Lord Brookhampton — must you antagonize him so?" Perry touched a forefinger to his chest. "Me?" "Yes, you!  The two of you are acting like a pair of brawling schoolboys!"  She pushed Gareth's hand away from its sword hilt and faced him with flashing eyes. "Charlotte and I have had enough. Either take us to de Montforte House or wash your hands of us, but I'm not going to stand here watching you two bicker while she screams London down around our ears!" Gareth stared at her in shock. And Perry, raising his brows at this sudden display of fire, merely reached into his coat and pulled out his purse.  He tossed it casually to Gareth. "Here," he said. "There's enough in there to buy yourselves room and board somewhere for a week, by which time maybe you'll have come to your senses. Consider it my wedding present."  He mounted his horse and touched his hat to Juliet. "Good day, Lady Gareth."  He gave Gareth a look of mocking contempt. "I wish the two of you many hours of marital bliss." And then, to Juliet's dismay, he turned and trotted off, leaving her standing on the pavement with a screaming baby and a husband who — it was growing alarmingly clear — was ill-equipped to take care of either of them.  
Danelle Harmon (The Wild One (The de Montforte Brothers, #1))
Coughing when walking down a pavement at night to indicate to the person ahead of you that you're there and you're definitely not going to attack them. Result: they immediately thing you're going to attack them.
Rob Temple (Very British Problems: Making Life Awkward for Ourselves, One Rainy Day at a Time (Very British Problems, #1))
Is it far?” she asked. “About three hours, ma’am,” he said, keeping his eyes on the pavement. “Another three hours.” She tried to think of something witty and British to say. “I already feel like a thrice-used tea bag.” He didn’t smile. “Oh. Um, I’m Jane. What’s your name?” He shook his head. “Not allowed to say.” Of course, she thought, I’m entering Austenland. The servant class is invisible.
Shannon Hale (Austenland (Austenland, #1))
He blinked, utterly startled. She wasn’t looking at him. Of course she wasn’t looking at him. She studied the pavement beneath her feet as if she were just another pale, downtrodden woman, unable to look him in the eyes. “Pretending?” He felt almost dangerous. “You don’t meet my eyes. You whisper your clever responses. You shy away from any hint that you’re an intelligent woman. You’re the one who pretends, my dear.” Her eyes widened slightly. “That—that is just conformity to the pressures of society—” “Is it? Look up, Minnie. Look in my eyes. Let everyone on this street see what we both know is true. You’re not deferring to me. You’re challenging me. Look up.” She didn’t. Her head remained stubbornly bowed before him. He wanted to grab her and shake her. He wanted to tilt her chin up and force her to gaze in his eyes. He wanted— He wanted a great many things after that, none of which he was going to get from her by force. “I’m not pretending to flirt with you,” he said instead. “There’s no pretense in it. I want you. God, I want you.” She let out a little gasp and then—almost involuntarily—she looked up. For just one moment, he saw something he thought was not pretense—a hopeless yearning in the way her face tilted toward his, a flutter in her ragged exhalation. Her lips parted, and she seemed suddenly, devastatingly beautiful.
Courtney Milan (The Duchess War (Brothers Sinister, #1))
Look, it doesn’t make sense for me to leave you pregnant and clueless on the pavement when I am headed for your very hotel.” “I can manage to find a phone and call for a cab. I graduated from college and everything.” “You don’t say? Can you take a degree in childbearing in this country?” “That was my minor. My major was social grace with an emphasis on tolerating the obnoxious—ack! I did it again! I keep telling myself, ‘Be nice, don’t insult him.’ Then you say something and out it comes.
Shannon Hale (The Actor and the Housewife)
I want to be held, and the things that hold me down do half a job. Some days, I can't even fix it. Some days, I rot on the inside and refuse to cut myself down. Some days, my fruits hit pavement, explode with seeds meant for soil; and only I understand what a wreckage my smile is. Joy is a weight. It's heavy. Can't you carry it for me while I dance around the void, run my nails down its spine? Put a hand on each hip, square your shoulders, grip tightly. The future is trying to take me. Hold me back. Hold me down. Hold on until you're done and forget that I've drifted away before you reach for your pants. Because you knew, didn't you? A blindfold knows its job. And at the end of the day, the most selfish thing is trying to help another person.
Vironika Tugaleva
We are souls in the flesh specters caught between the limbo of yesterday and tomorrow illusions of the present imposters in these skins I am rain blown sideways by the wind My art, my love, my hunger slows the descent I spread out like a shadow on the pavement stomped on by what is, saved by what is not but is and is not are so fickle Reality and dreams dress up as one another playing musical chairs in the mind and if you are so lucky that a dream seizes the throne and turns your mind into an imagination, do not revolt, do not resist Become your madness Become the fool
Connor Judson Garrett (Become The Fool)
27 Places Where You Won't Find Love 1. The spoon with which you measure salt 2. Plastic plates stacked neatly on a shelf 3. Flowers - marigolds and chrysanthemums and roses - and the shop that sells these 4. Earrings lost in the backseat of a tuktuk while looking for the Malayalam translation of "I love you" in the dark 5. Bookshelves with borrowed books, never read 6. Fifty watches, three of which were for sale 7. Coffee whose flavor was slightly off 8. A red bridge that goes by gold, which has replicas everywhere 9. The replicas themselves 10. The rearview mirror of a car 11. The burnt sienna pavement where you hurt yourself 12. A protein shake whose taste grew on you thanks to someone else. With eggs and coconut and toast 13. An island untouched by civilization 14. Another ravaged by war 15. A declined invitation to brunch 16. Dinner gone cold after a long wait, and thrown away the next day 17. An unacknowledged text message 18. Laughter ringing through a movie hall during a scene that didn't warrant it 19. Retainers stored in a box next to baby oil in the medicine cabinet 20. A gold pendant 21. A white and red cable car 22. A helmet too small for your head and another too large 23. Dreams with their own background score 24. Misplaced affection 25. A smile between strangers, with you standing on the outside looking in 26. Your bed 27. The future
Sreesha Divakaran
You thought that you were the permanent part of your own experience, the net that held it all together—until you discovered that there were many selves, dissolving into one another so quickly over time that the buildings and the trees and even the pavement turned out to have more substance than you did.
Nell Freudenberger (The Newlyweds)
I waited for the feeling of heaviness to leave my brain. I wondered if you could ever out-run your thoughts and leave them behind in a pile of gravel on the pavement for someone else to sweep up. I ran and I ran.
Amy Bratley (The Girls' Guide to Homemaking)
You must have found it hard at school as well, everyone complaining about homework and not having a car or being able to afford a dress from ASOS that they'll probably only wear once. Stupid shit I used to complain about as well that doesn't matter anymore. Oh boo hoo your cat died. Poor you. My mother was run down in the street by a drunk driver. Someone from the council had to scrub her blood off the pavement.
Tanya Byrne (For Holly)
The flower display continued through the town. Window boxes adorned the shop fronts, hanging baskets hung from patent black lampposts, trees grew tall in the main street. Each building was painted a different refreshing color and the main street, the only street, was a rainbow of mint greens, salmon pinks, lilacs, lemons, and blues. The pavements were litter free and gleaming as soon as you averted your gaze above the gray slate roofs you found yourself surrounded by majestic green mountains.
Cecelia Ahern (If You Could See Me Now)
said, stepping out onto the crowded pavement – the heat wave that had baked the country for the past two weeks had really brought out the revellers. ‘That was my fault – Lizzy persuaded the barman to turn the music up. Now it’s so loud my eardrums feel like they’re about to burst. I only noticed your call because I had my mobile out, showing Lizzy and the girls some photos from last week.
Paul Pilkington (The One You Love (Emma Holden Suspense Mystery, #1))
But loving someone isn’t about wanting them to evolve into someone better. My mom taught me that. Real love is saying: here, take my still-beating heart and hold it in your hands and please, please, please, promise not to squeeze too tight or drop it on the pavement. Love is being naked and afraid, but refusing to flinch. It’s not asking that person to change; it’s trusting them enough not to. And it’s not even about needing them to love you back equally; it’s just about loving them for who they are.
Julie Johnson (Cross the Line (Boston Love, #2))
Benedict flipped back the curtains one last time, then let them fall into place. “Ah. Here we are.” Sophie waited while he disembarked, then moved to the doorway. She briefly considered ignoring his outstretched hand and jumping down herself, but the carriage was quite high off the ground, and she really didn’t wish to make a fool of herself by tripping and landing in the gutter. It would be nice to insult him, but not at the cost of a sprained ankle. With a sigh, she took his hand. “Very smart of you,” Benedict murmured. Sophie looked at him sharply. How did he know what she’d been thinking? “I almost always know what you’re thinking,” he said. She tripped. “Whoa!” he called out, catching her expertly before she landed in the gutter. He held her just a moment longer than was necessary before depositing her on the pavement. Sophie would have said something, except that her teeth were ground together far too tightly for words. “Doesn’t the irony just kill you?” Benedict asked, smiling wickedly. She pried open her jaw. “No, but it may very well kill you.” He laughed, the blasted man. -Benedict & Sophie
Julia Quinn (An Offer From a Gentleman (Bridgertons, #3))
I’d like to share with you a parable: the parable of Bob the Angel. A girl was walking down a darkly lit city street late at night. A man jumped out from the shadows and attacked her, suddenly she was suffocating and disoriented as hands clasped around her neck and the force of his attack started to push her down. She tried to yell as she struggled to pull his arms from her neck while she crumpled backwards to the ground, “God . . . help me!” The next thing she remembers—just as the fear consumed her, and right as she disappeared into the misery and despair of helplessness—was a loud crash and an explosion of glass which rained down upon her and her attacker. The assailant’s lifeless body was suspended above her, held from collapsing on her by an unknown force, and then pulled away from hovering over her and dropped onto the pavement beside her. She opened her eyes in the faint shadowy light, to see black matted hair and a long, black beard framing the eyes of a man. The smell of alcohol on his breath would have knocked her out if the adrenaline was not still trilling through her veins. There he stood, God’s angel, off-kilter and drunk, with a broken whiskey bottle in his hand. “You probably shouldn’t be walking through here this late at night,” was all he said as he turned away. “Wait! What’s your name?” she asked, still stunned half sitting up on the ground. All she heard as he walked away was his trailing voice calling, “Bob’s as good as any. . . .” An angel is a messenger, and sometimes we only want letters sent in white envelopes with beautiful gold print, when sometimes a simple “no” on the back of a gum wrapper is what we are offered. Every postcard from heaven does not come with a picture of the sunset there, nor should it. If it is an answer we want, an answer we will get. As far as pretty postcards, there are many others willing to send us that. If not harps and gold-tipped wings, what then is the mark of an angel? An answer which pierces your soul, and which inspires a question that invites you to look outside of yourself and up to God.
Michael Brent Jones (Dinner Party: Part 2)
They will tremble with awe because of all the good and all the peace I will bring about for them. Jeremiah 33:9 God does not minimize the things that break our hearts. He is not looking down on us, thinking how petty we are because things have hurt us. If we are so “heavenly minded” that we grow out of touch with earthly hardships, we've missed an important priority of Christ. God left our bare feet on the hot pavement of earth so we could grow through our hurts, not ignore and refuse to feel our way through them. So surrender your hurt to Him, withholding nothing, and invite Him to work miracles from your misery. Be patient and get to know Him through the process of healing.
Beth Moore (Breaking Free Day by Day: A Year of Walking in Liberty)
THINK OF THE WAY a stretch of grass becomes a road. At first, the stretch is bumpy and difficult to drive over. A crew comes along and flattens the surface, making it easier to navigate. Then, someone pours gravel. Then tar. Then a layer of asphalt. A steamroller smooths it; someone paints lines. The final surface is something an automobile can traverse quickly. Gravel stabilizes, tar solidifies, asphalt reinforces, and now we don’t need to build our cars to drive over bumpy grass. And we can get from Philadelphia to Chicago in a single day. That’s what computer programming is like. Like a highway, computers are layers on layers of code that make them increasingly easy to use. Computer scientists call this abstraction. A microchip—the brain of a computer, if you will—is made of millions of little transistors, each of whose job is to turn on or off, either letting electricity flow or not. Like tiny light switches, a bunch of transistors in a computer might combine to say, “add these two numbers,” or “make this part of the screen glow.” In the early days, scientists built giant boards of transistors, and manually switched them on and off as they experimented with making computers do interesting things. It was hard work (and one of the reasons early computers were enormous). Eventually, scientists got sick of flipping switches and poured a layer of virtual gravel that let them control the transistors by punching in 1s and 0s. 1 meant “on” and 0 meant “off.” This abstracted the scientists from the physical switches. They called the 1s and 0s machine language. Still, the work was agonizing. It took lots of 1s and 0s to do just about anything. And strings of numbers are really hard to stare at for hours. So, scientists created another abstraction layer, one that could translate more scrutable instructions into a lot of 1s and 0s. This was called assembly language and it made it possible that a machine language instruction that looks like this: 10110000 01100001 could be written more like this: MOV AL, 61h which looks a little less robotic. Scientists could write this code more easily. Though if you’re like me, it still doesn’t look fun. Soon, scientists engineered more layers, including a popular language called C, on top of assembly language, so they could type in instructions like this: printf(“Hello World”); C translates that into assembly language, which translates into 1s and 0s, which translates into little transistors popping open and closed, which eventually turn on little dots on a computer screen to display the words, “Hello World.” With abstraction, scientists built layers of road which made computer travel faster. It made the act of using computers faster. And new generations of computer programmers didn’t need to be actual scientists. They could use high-level language to make computers do interesting things.* When you fire up a computer, open up a Web browser, and buy a copy of this book online for a friend (please do!), you’re working within a program, a layer that translates your actions into code that another layer, called an operating system (like Windows or Linux or MacOS), can interpret. That operating system is probably built on something like C, which translates to Assembly, which translates to machine language, which flips on and off a gaggle of transistors. (Phew.) So, why am I telling you this? In the same way that driving on pavement makes a road trip faster, and layers of code let you work on a computer faster, hackers like DHH find and build layers of abstraction in business and life that allow them to multiply their effort. I call these layers platforms.
Shane Snow (Smartcuts: The Breakthrough Power of Lateral Thinking)
Few people try, because few people dare. And most don’t want to give up on the easy. Think of your favorite sports star. Let me tell you, they spent every waking moment of their teenage years in the gym, pounding pavements or knocking a ball against a wall. You just don’t get good at something unless you dedicate yourself to it. It’s not rocket science: the rewards go to the dogged. But sacrifice hurts, which is why so many take the easy option. But what most people don’t realize is that sacrifice also has power. Knowing that you have denied yourself something you wanted often means you put even more effort into achieving your goal. It’s the Yin for the Yang. I like to see sacrifice as a type of fuel that powers you towards your destination. The more you give up, then the more energy, time and focus you gain to commit to your goal. It’s never easy to make sacrifices, especially when you know they are going to hurt. But I would encourage you to choose the option that will make you proud. There is a great line in the poem ‘The Road Not Taken’ by Robert Frost that says: ‘I took the one less traveled by, And that has made all the difference.’ Do you want to make a difference? Do you want to be one of the few or the many? If you want to achieve something special, then you have to choose a path that most won’t dare to tread. That can be scary; but exciting. And there will be a cost. Count it. Weigh it. Are you really prepared to pay the price? The sacrifice? Remember this: Pain is transitory; pride endures for ever.
Bear Grylls (A Survival Guide for Life: How to Achieve Your Goals, Thrive in Adversity, and Grow in Character)
This would never have happened in Abnegation! None of it! Never. This place warped him and ruined him, and I don’t care if saying that makes me a Stiff, I don’t care, I don’t care!” My paranoia is so deeply ingrained, I look automatically at the camera buried in the wall above the drinking fountain, disguised by the blue lamp fixed there. The people in the control room can see us, and if we’re unlucky, they could choose this moment to hear us, too. I can see it now, Eric calling Tris a faction traitor, Tris’s body on the pavement near the railroad tracks… “Careful, Tris,” I say. “Is that all you can say?” She frowns at me. “That I should be careful? That’s it?” I understand that my response wasn’t exactly what she was expecting, but for someone who just railed against Dauntless recklessness, she’s definitely acting like one of them. “You’re as bad as the Candor, you know that?” I say. The Candor are always running their mouths, never thinking about the consequences. I pull her away from the drinking fountain, and then I’m close to her face and I can see her dead eyes floating in the water of the underground river and I can’t stand it, not when she was just attacked and who knows what would have happened if I hadn’t heard her scream. “I’m not going to say this again, so listen carefully.” I put my hands on her shoulders. “They are watching you. You, in particular.” I remember Eric’s eyes on her after the knife throwing. His questions about her deleted simulation data. I claimed water damage. He thought it was interesting that the water damage occurred not five minutes after Tris’s simulation ended. Interesting. “Let go of me,” she says. I do, immediately. I don’t like hearing her voice that way. “Are they watching you, too?” Always have been, always will be.
Veronica Roth (Four: A Divergent Story Collection (Divergent, #0.1-0.4))
As we reached town, the truck bounced from the dirt road to the pavement, and something underneath made an ugly cracking sound. “It’s been doing that,” Daniel said. “Just ignore it. Corey says he’ll take a look on the weekend.” “Well, no matter how dire the situation, if my dad offers you a new truck, don’t do it. There’s a serious string attached.” “Huh?” he said. I told him what my dad had said. That got him laughing and as we pulled into the school parking lot, even the sight of Rafe waiting for me only made him roll his eyes. We got out. I glanced at Daniel. He sighed. “Go on.” “You sound like you’re giving a five-year-old permission to play with an unsuitable friend.” “If the shoe fits…” I flipped him off. “Watch it or I won’t marry you,” he said. “Truck or no truck.” I laughed and jogged over to Rafe. “Did he just say…?” Rafe began. “Yes. And don’t ask.
Kelley Armstrong (The Gathering (Darkness Rising, #1))