3
" The four of them stand in the cockpit of the Misdemeanor as they motor from one town to another. They pass their house, which is not theirs any longer. Libby cuts the throttle, and they stall there in front of their sprawling memory. The four of them have come up for the closing; since all of them are owners, they all must be present to sign away this place. They have given most of the land to the Maine Preservation Society, and the house, they have sold to a family who promises not to tear the whole thing down, though they know that is a lie. The oak is yellow and peeks from behind the house. The glossy white windows of the great room look down upon them. It is cold and they all wear their foul-weather gear, bright-yellow slickers, except Gwen, in a red poncho to accommodate the swell of her belly. Libby keeps one hand on the tiller and the other she slips into Tom’s hand. He gives it a squeeze and then puts his arm around her. Danny moves from the stern to stand between Tom and Gwen. They all stand on the starboard side looking at the house. Libby and Tom, then Danny, his hand resting on his brother’s shoulder, and Gwen next to him, her arms crossed over her protruding belly, her hair long and dark hanging down her back. She is no longer a beacon, but a buoy in her poncho, red right returning. The sky is gray and low and promises a choppy ferry ride to the mainland, but there in the safe haven of the harbor it is calm and windless, and the house isn’t empty, but expectant. The flat water, dark green now, lies empty, the float pulled out the month before. Going from town dock to town dock, there is no need for a tender. There is no way for them to come ashore, even if they wanted to. A house like this is not supposed to exist now. It comes from another era. It is a ghost, like the schooners that sail through the thoroughfare every summer. It is an aberration, a figment. It is their great shingled memory. "
― , North Haven
6
" The truth, at times, can be the hardest pill to swallow. When we are confronted by something new, something that threatens to shake us from our comfortable tree, shatters our illusions, we resist. It takes courage to swim against the tide of popular opinion. Most of us would rather hold on to the safety buoy than strike out into unchartered seas. If you are one of these, don't bother to read this true account of the Frankenstein myth, hold tightly to your buoy and be carried to the shores of the known and familiar, you will be safe. I do not wish to make you feel uncomfortable in your skin, that is not my aim. My goal is to set the story straight and not pander to the fickle minded.This version of events is so far removed from the common misguided perceptions held by us all, and will so challenge the accepted beliefs generated by cheap fiction, that there will be many who will call me charlatan or fraud. They do not possess the will, or wherewithal, to want to know the truth or even suspend their judgement so that the record might be set straight for posterity. Possibly, they might be the last remnants of the flat earth society and still trying to convince the rest of us where we are going wrong. If nothing else, I salute their commitment and tenacity. This book is not for them.There it is. I have forewarned you against reading this account of the tortured genius of Baron von Frankenstein. If you are not ready for the truth, stay safe and warm in your insulated ivory towers and remain ignorant of the catastrophe that befell him and the people of the town of Frankenstein. It is not my loss... "
7
" Once I started trying to give positive reviews, though, I began to understand how much happiness I took from the joyous ones in my life---and how much effort it must take for them to be consistently good=tempered and positive. It is easy to be heavy; hard to be light. We nonjoyous types suck energy and cheer from the joyous ones; we rely on them to buoy us with their good spirit and to cushion our agitation and anxiety. At the same time, because of a dark element in human nature, we're sometimes provoked to try to shake the enthusiastic, cheery folk out of their fog of illusion---to make them see that the play was stupid, the money was wasted, the meeting was pointless. Instead of shielding their joy, we blast it. "
― Gretchen Rubin , The Happiness Project: Or Why I Spent a Year Trying to Sing in the Morning, Clean My Closets, Fight Right, Read Aristotle, and Generally Have More Fun
8
" We, the beggar class, have little to lose and our expectations are, at best, modest, and when we suffer, it seems we suffer to the depths, for there is nothing in our lives nor in our souls to buoy our hope. Nothing in the way of the blackness. It sinks to the bottom as the lead weight that is despair. We look forward such a short distance that our spirit is myopic, not to be corrected by any lens within our world. "
― Dan Groat , Monarchs and Mendicants (Gifford Ulrich, #1)
14
" Doc was collecting marine animals in the Great Tide Pool on the tip of the Peninsula. It is a fabulous place: when the tide is in, a wave-churned basin, creamy with foam, whipped by the combers that roll in from the whistling buoy on the reef. But when the tide goes out the little water world becomes quiet and lovely. The sea is very clear and the bottom becomes fantastic with hurrying, fighting, feeding, breeding animals. Crabs rush from frond to frond of the waving algae. Starfish squat over mussels and limpets, attach their million little suckers and then slowly lift with incredible power until the prey is broken from the rock. And then the starfish stomach comes out and envelops its food. Orange and speckled and fluted nudibranchs slide gracefully over the rocks, their skirts waving like the dresses of Spanish dancers. And black eels poke their heads out of crevices and wait for prey. The snapping shrimps with their trigger claws pop loudly. The lovely, colored world is glassed over. Hermit crabs like frantic children scamper on the bottom sand. And now one, finding an empty snail shell he likes better than his own, creeps out, exposing his soft body to the enemy for a moment, and then pops into the new shell. A wave breaks over the barrier, and churns the glassy water for a moment and mixes bubbles into the pool, and then it clears and is tranquil and lovely and murderous again. Here a crab tears a leg from his brother. The anemones expand like soft and brilliant flowers, inviting any tired and perplexed animal to lie for a moment in their arms, and when some small crab or little tide-pool Johnnie accepts the green and purple invitation, the petals whip in, the stinging cells shoot tiny narcotic needles into the prey and it grows weak and perhaps sleepy while the searing caustic digestive acids melt its body down.
Then the creeping murderer, the octopus, steals out, slowly, softly, moving like a gray mist, pretending now to be a bit of weed, now a rock, now a lump of decaying meat while its evil goat eyes watch coldly. It oozes and flows toward a feeding crab, and as it comes close its yellow eyes burn and its body turns rosy with the pulsing color of anticipation and rage. Then suddenly it runs lightly on the tips of its arms, as ferociously as a charging cat. It leaps savagely on the crab, there is a puff of black fluid, and the struggling mass is obscured in the sepia cloud while the octopus murders the crab. On the exposed rocks out of water, the barnacles bubble behind their closed doors and the limpets dry out. And down to the rocks come the black flies to eat anything they can find. The sharp smell of iodine from the algae, and the lime smell of calcareous bodies and the smell of powerful protean, smell of sperm and ova fill the air. On the exposed rocks the starfish emit semen and eggs from between their rays. The smells of life and richness, of death and digestion, of decay and birth, burden the air. And salt spray blows in from the barrier where the ocean waits for its rising-tide strength to permit it back into the Great Tide Pool again. And on the reef the whistling buoy bellows like a sad and patient bull. "
― John Steinbeck , Cannery Row (Cannery Row, #1)
