2
" Son, never trust a man who doesn’t drink because he’s probably a self-righteous sort, a man who thinks he knows right from wrong all the time. Some of them are good men, but in the name of goodness, they cause most of the suffering in the world. They’re the judges, the meddlers. And, son, never trust a man who drinks but refuses to get drunk. They’re usually afraid of something deep down inside, either that they’re a coward or a fool or mean and violent. You can’t trust a man who’s afraid of himself. But sometimes, son, you can trust a man who occasionally kneels before a toilet. The chances are that he is learning something about humility and his natural human foolishness, about how to survive himself. It’s damned hard for a man to take himself too seriously when he’s heaving his guts into a dirty toilet bowl. "
― James Crumley
5
" I look at him with the nostalgic affection men are said to feel for their wars, their fellow veterans. I think, I once threw things at this man. I threw a glass ashtray, a fairly cheap one which didn't break. I threw a shoe (his) and a handbag (mine), not even snapping the handbag shut first, so that he was showered with a metal rain of keys and small change. The worst thing I threw was a small portable television set, standing on the bed and heaving it at him with the aid of the bouncy springs, although the instant I let fly I thought, Oh God, let him duck! I once thought I was capable of murdering him. Today I feel only a mild regret that we were not more civilized with each other at the time. Still, it was amazing, all those explosions, that recklessness, that Technicolor wreckage. Amazing and agonizing and almost lethal. "
― Margaret Atwood , Cat's Eye
6
" Whenever Elliot Norther’s wife was nervous she baked. With the murder of Harriet Mason, her husband’s close colleague at the Faculty, she had been unable to resist a couple of Victoria sponges. During the frenzied press speculation about the identity of the murderer, a Dundee cake had appeared, followed swiftly by a Battenberg and a Lemon Drizzle. Since news of the Wildencrust murder broke, the kitchen, dining room and study had come to resemble the storerooms of an industrial bakery, every surface heaving with the weight of sponge and cream. Yesterday, having at last been overwhelmed by the fear and rumour that swept the town, she had taken herself off to her mother’s house in Hampstead, leaving her husband to soldier on alone. When he had last seen his wife, Elliot Norther noticed that she had been putting the finishing touches to an impressive, triple-tiered wedding cake, beating a batch of royal icing into a sickly paste. "
7
" She strong-armed the swinging door and walked through. Straight into an acid flashback.
Clara’s first reaction was to laugh. She stood stunned for a moment then started to laugh. And laugh. And laugh until she thought she’d piddle. Peter was soon infected and began laughing. And Gamache, who up until this moment had only seen a travesty, smiled, then chuckled, then laughed and within moments was laughing so hard he had to wipe away tears.
‘Holy horrible taste, Batman,’ said Clara to Peter who doubled over, laughing some more.
‘Solid, man, solid,’ he gasped and managed to raise a peace sign before having to put both hands on his knees to support his heaving body. "
― Louise Penny , Still Life (Chief Inspector Armand Gamache, #1)
8
" Melissa popped open the clattery little Rotring tin. Pencils, putty rubber, scalpel. She sharpened a 3B, letting the curly shavings fall into the wicker bin, then paused for a few seconds, finding a little place of stillness before starting to draw the flowers. Art didn't count at school because it didn't get you into law or banking or medicine. It was just a fluffy thing stuck to the side of Design and Technology, a free A level for kids who could do it, like a second language, but she loved charcoal and really good gouache, she loved rolling sticky black ink on to a lino plate and heaving on the big black arm of the Cope press, the quiet and those big white walls. "
― Mark Haddon , The Red House
13
" Digging
Between my finger and my thumb
The squat pen rests; snug as a gun.
Under my window, a clean rasping sound
When the spade sinks into gravelly ground:
My father, digging. I look down
Till his straining rump among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.
The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked,
Loving their cool hardness in our hands.
By God, the old man could handle a spade.
Just like his old man.
My grandfather cut more turf in a day
Than any other man on Toner’s bog.
Once I carried him milk in a bottle
Corked sloppily with paper. He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf. Digging.
The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I’ve no spade to follow men like them.
Between my finger and my thumb
The squat pen rests.
I’ll dig with it. "
― Seamus Heaney
17
" One humid summer afternoon, Remy got to missing his dad, who was in Japan doing fieldwork. After searching around the house, I found him in the backyard sitting on a rock and crying tears that were so sincere and alone that I immediately cried right along with him--out of both empathy and also a sense of joy that he, after a mere five years on this earth, was able to feel so deeply for someone else.
Because I was crying, I was short on words, but I carried him inside to an overstuffed chair and let his little heaving body fill in every space on my stomach and chest. We stayed there for a long time without speaking while he calmed--he seemed to want to melt right into me until any hurt he felt was gone.
I had already been thinking a lot about bodies and the spirit, but that moment brought new clarity to my abstract ideas and tentative conclusions. My body is home to my children. I lie between my children each night while they fall asleep, and they reach out in the dark and stroke my face or reach for my hand. It's like the reaffirmation of both their place in the world and their place in a larger plan, as they run their tiny hands across the familiar and tangible landscape of my body. My body for them is a manifestation of home, and home is what the spirit has always felt like for me.
There have been times in my life, more than I'd like to admit, that I've spent copious amounts of thought and energy trying to rearrange the home of my body. Roughly pushing furniture around with dissatisfaction, barging in with the latest trend, sitting at the window wishing my home was anything other than what it was. I think, like many, I've been harsh to my body, spoken unkindly to and about it.
Watching Thea move through the world with almost comical confidence has shifted my paradigm. Since she has been around, I slowly, one step and one day at a time, began reclaiming confidence in my body. I feel fierce in protecting her confidence, and I've learned in order to do that I have to protect my own. I've learned that in order to be an efficacious woman with any sort of spiritual power, I first have to love my body. "
― Ashley Mae Hoiland , One Hundred Birds Taught Me to Fly: The Art of Seeking God