24
" So now George has arrived. He is not nervous inthe least. As he gets out of his car, he feels an upsurge of energy, of eagerness for the play to begin. And he walks eagerly, with a springy step, along the gravel path past the Music Building toward the Department office. He is all actor now—an actor on his way up from the dressing room, hastening through the backstage world of props and lamps and stagehands to make his entrance. A veteran, calm and assured, he pauses for a well-measured moment in the doorway of the office and then, boldly, clearly, with the subtly modulated British intonation which his public demands of him, speaks his opening line: " Good morning!" And the three secretaries—each one of them a charming and accomplished actress in her own chosen style—recognize him instantly, without even a flicker of doubt, and reply " Good morning!" to him. (There is something religious here, like responses in church—a reaffirmation of faith in the basic American dogma that it is, always, a good morning. Good, despite the Russians and their rockets, and all the ills and worries of the flesh. For of course we know, don't we, that the Russians and the worries are not really real? They can be un-thought and made to vanish. And therefore the morning can be made to be good. Very well then, it is good.) "
27
" Shortly afterwards it started raining, very innocently at first, but the sky was packed tight with cloud and gradually the drops grew bigger and heavier, until it was autumn’s dismal rain that was falling—rain that seemed to fill the entire world with its leaden beat, rain suggestive in its dreariness of everlasting waterfalls between the planets, rain that thatched the heavens with drabness and brooded oppressively over the whole countryside, like a disease, strong in the power of its flat, unvarying monotony, its smothering heaviness, its cold, unrelenting cruelty. Smoothly, smoothly it fell, over the whole shire, over the fallen marsh grass, over the troubled lake, the iron-grey gravel flats, the sombre mountain above the croft, smudging out every prospect. And the heavy, hopeless, interminable beat wormed its way into every crevice in the house, lay like a pad of cotton wool over the ears, and embraced everything, both near and far, in its compass, like an unromantic story from life itself that has no rhythm and no crescendo, no climax, but which is nevertheless overwhelming in its scope, terrifying in its significance. And at the bottom of this unfathomed ocean of teeming rain sat the little house and its one neurotic woman. "
― Halldór Laxness , Independent People
28
" More than two dozen kids lined a low railing around the gazebo. They were all tied to it by a rope leash that gave them no more than a few feet of movement. Neck to rail, like tethered horses. Each of the kids was weighed down by a concrete block that encased their hands. Their eyes were hollow, their cheeks caved in.
Astrid used a word that Sam had never imagined coming from her.
“Nice language,” Drake said with a smirk. “And in front of the Pe-tard, too.”
A cafeteria tray had been placed in front of each of the prisoners. It must have been a very recent delivery because some were still licking their trays, hunched over, faces down, tongues out, licking like dogs.
“It’s the circle of freaks,” Drake said proudly, waving a hand like a showman.
In a crusty old wheelbarrow to one side, three kids were using a short-handled shovel to mix cement. It made a heavy sloshing sound. They dumped a shovelful of gravel into the mix and stirred it like lumpy gravy.
“Oh, no,” Lana said, backing away, but one of the Coates kids smashed her behind the knee with his baseball bat, and she crumpled.
“Gotta do something with unhelpful freaks,” Drake said. “Can’t have you people running around loose.” He must have seen Sam start to react because he stuck his gun against Astrid’s head. “Your call, Sam. You so much as flinch and we’ll get to see what a genius brain really looks like.”
“Hey, I got no powers, man,” Quinn said.
“This is sick, Drake. Like you’re sick,” Astrid said. “I can’t even reason with you because you’re just too damaged, too hopelessly messed up.”
“Shut up. "
― Michael Grant
32
" The porpoises and whale themselves, in their quests for entertainment, often created problems. One summer a fashion developed in the training tanks (I think Keiki started it) for leaning out over the tank wall and seeing how far you could balance without falling out. Several animals might be teetering on the tank edge at one time, and sometimes one or another did fall out. Nothing much happened to them, except maybe a cut or a scrape from the gravel around the tanks; but of course we had to run and pick them up and put them back in. Not a serious problem, if the animal that fell out was small, but if it was a 400-pound adult bottlenose, you had to find four strong people to get him back, and when it happened over and over again, the people got cross. We feared too, that some animal would fall out at night or when no one was around and dry out, overheat, and die. We yelled at the porpoises, and rushed over and pushed them back in when we saw them teetering, but that just seemed to add to the enjoyment of what I'm sure the porpoises thoguht of as a hilariously funny game. Fortunately they eventually tired of it by themselves. "
― Karen Pryor , Lads Before the Wind: Diary of a Dolphin Trainer