Counter Quotes (displaying: 1 - 30 of 140 quotes )
It drains the bars and cafes after hours, concentrates the wicked and the guilty along its chipped Formica counter, and thrums with the gossip of criminals, policemen, shtarkers, and schlemiels, whores and night owls ... three or four floaters, solitaries, and drunks between benders lean against the sparkly resin counter, sucking the tea from their shtekelehs and working the calulations of their next big mistake.
What he has instead of a being, I thought, is blandness- the guy's radiant with it. He has devised for himself and incognito, and the incognito has become him. Several times during the meal I didn't think I was going to make it, didn't think I'd get to dessert if he was going to keep praising his family and praising his family...until I began to wonder if it wasn't that he was incognito but that he was mad. Something was on top of him that had called a halt to him. Something had turned him into a human platitude. Something had warned him: You must not run counter to anything.
A man who sets out to make himself up is taking on the Creator's role, according to one way of seeing things; he's unnatural, a blasphemer, an abomination of abominations. From another angle, you could see pathos in him, heroism in his struggle, in his willingness to risk: not all mutants survive. Or, consider him socio-politically: most migrants learn, and can become disguises. Our own false descriptions to counter the falsehoods invented about us, concealing for reasons of security our secret selves.
...he was pouring vinegar onto the hot grill, where it sputtered and foamed and hissed. The air was full of it for a few seconds, enough to get everyone at the counter teared up, but just as quickly it was gone, with an implicit promise that anything so intensely horrible would be design pass swiftly.
While he was waiting, leaning on the counter at a coffee place, he remembered the dream he'd had the night before about Antonio Jones, who had been dead for several years now. As before, he asked himself what Jones could have died of, and the one answer that occurred to him was old age. One day, walking down some street in Brooklyn, Antonio Jones had felt tired, sat down on the sidewalk, and a second later stopped existing.
Bridge-players tell me that there must be some money on the game 'or else people won't take it seriously'. Apparently it's like that. Your bid - for God or no God, for a good God or the Cosmic Sadist, for eternal life or nonentity - will not be serious if nothing much is staked on it. And you will never discover how serious it was until the stakes are raised horribly high, until you find that you are playing not for counters or for sixpences but for every penny you have in the world.
…he is unlike the other customers. They sense it too, and look at him with hard eyes, eyes like little metal studs pinned into the white faces of young men [...] In the hush his entrance creates, the excessive courtesy the weary woman behind the counter shows him amplifies his strangeness. He orders coffee quietly and studies the rim of the cup to steady the sliding in his stomach. He had thought, he had read, that from shore to shore all America was the same. He wonders, Is it just these people I’m outside or is it all America?
Caine wanted to be a doctor," Serena recalled with an innocent smile. "At least, that's what he told all the little girls.""It was a natural aspiration," Caine defended himself, lifting his hand to his mother's knee while his arm held Diana firmly against him."Grant used a different approach," Shelby recalled. "I think he was fourteen when he talked Dee-Dee O'Brian into modeling for him-in the nude.""That was strictly for the purpose of art," he countered when Gennie lifted a brow at him. "And I was fifteen.""Life studies are an essential part of any art course," Gennie said as she started to draw again. "I remember one male model in particular-" She broke off as Grant's eyes narrowed. "Ah, that scowl's very natural, Grant, try not to lose it.
Plus, he's got a terrific butt. I know becuase I made sure I walked behind him to check it out."With a laugh, Keeley sat down beside her. "First, you're so predictable. Second, if Dad hears you talk that way, he'll shove the man on the first plane back to Ireland. And third, I didn't notice his butt, or anything else about him, particularly.""Liar." Sarah propped her elbow on the counter as her sister took out a lipstick. "I saw you give him the Keeley Grant once-over."Amused, Keeley passed the lipstick to Sarah. "Then let's say I didn't much ie what I saw. The rough-edged and proud of it type just doesn't do it for me.
None of us should be ashamed to speak of our class power or lack of it. Overcoming fear, even the fear of being immodest, and acting courageously to bring issues of class- especially radical standpoints – into the discourse of blackness is a gesture of militant defiance, one that runs counter to bourgeois insistence that we think of “money” in particular and class in general as private matters.
To be changed by ideas was pure pleasure. But to learn ideas that ran counter to values and beliefs learned at home was to place oneself at risk, to enter the danger zone. Home was the place where I was forced to conform to someone els?s image of who and what I should be. School was the place where I could forget that self and, through ideas, reinvent myself.
Percy wakes me (fourteen) Percy wakes me and I am not ready. He has slept all night under the covers. Now he’s eager for action: a walk, then breakfast. So I hasten up. He is sitting on the kitchen counter Where he is not supposed to be. How wonderful you are, I say. How clever, if you Needed me, To wake me. He thought he would a lecture and deeply His eyes begin to shine. He tumbles onto the couch for more compliments. He squirms and squeals: he has done something That he needed And now he hears that it is okay. I scratch his ears. I turn him over And touch him everywhere. He is Wild with the okayness of it. Then we walk, then He has breakfast, and he is happy. This is a poem about Percy. This is a poem about more than Percy. Think about it.
Clarissa had a theory in those days—they had heaps of theories, always theories, as young people have. It was to explain the feeling of dissatisfaction; not knowing people; not being known. For how could they know each other? You met every day; then not for six months, or years. It was unsatisfactory, they agreed, how little one knew people. But she said, sitting on the bus going up Shaftesbury Avenue, she felt herself everywhere; not “here, here, here“; and she tapped the back of the seat; but everywhere. She waved her hand, going up Shaftesbury Avenue. She was all that. So that to know her, or any one, one must seek out the people who completed them; even the places. Odd affinities she had with people she had never spoken to, some woman in the street, some man behind a counter—even trees, or barns.
It was foolish to feel like a girl getting ready for a date. Gennie told herself that as she unlocked the door to the cottage. She'd told herself the same thing as she'd driven away from town... as she'd turned down the quiet lane. It was a spur of the moment cookout-two adults, a steak, and a bottle of burgundy that may or may not have been worth the price. A person would have to look hard to find any romance in charcoal, lighter fluid and some freshly picked greens from a patch in the backyard. Not for the first time, Gennie thought it a pity her imagination was so expansive. It had undoubtedly been imagination that had brought on that rush of feeling in the churhcyard. A little unexpected tenderness, a soft breeze and she heard bells. Silly. Gennie set the bags on the kitchen counter and wished she'd bought candles. Candlelight would make even that tidy, practical little kitchen seem romantic. And if she had a radio, there could be music...
?m a maker of ballads right prettyI write them right here in the streetYou can buy them all over the cityyours for a penny a sheet?m a word pecker out of the printersout of the dens of Gin Lane?ll write up a scene on a counter- confessions and sins in the main, boysconfessions and sins in the mainThen yo?ll find me in Madame Genev?skeeping the demons at bayTher?s nothing like gin for drowning them inbut the?ll always be back on a hanging day, on a hanging dayThey come rattling over the cobblesthey sit on their coffins of blackSome are struck dumb, some gabbletop-heavy on brandy or sackThe pews are all full of fine fellowsand the hawker has set up her shopAs the?re turning them off at the gallowssh?ll be selling right under the drop, boysselling right under the dropThen yo?ll find me in Madame Genev?skeeping the demons at bayTher?s nothing like gin for drowning them inbut the?ll always be back on a hanging day, on a hanging day
...I knew he used women as counters in a game, Bobby Quine versus time and the night of cities. And Rikki had turned up just when he needed something to get him going, something to aim for. So he'd set her up as a symbol for everything he wanted and couldn't have, everything he'd had and couldn't keep.
Pied Beauty— " Glory be to God for dappled things-- For skies of couple-colour as a brinded cow; For rose-moles all in stipple upon trout that swim; Fresh-firecoal chestnut-falls; finches' wings; Landscape plotted and pieced--fold, fallow, and plough; And all trades, their gear and tackle and trim. All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?) With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise Him.
America is the promised land, because each generation bequeathed to its children a promise, a promise that they might not come to enjoy but which they fully expected their offspring to fulfill. So the words 'all men are created equal' took a life of its own, ultimately destined to end slavery and enfranchise women. And the words 'equal protection' and 'due process' inevitably led to the end of the words 'separate but equal,' ensuring that the walls of segregation would crumble, whether at the lunch counter or at the voting booth.
Sometimes you have to recycle celebrities to make them interesting, and they can be even better the second time around. Case in point: the fabulous and talented Miss Joey Heatherton, star of stage, screen, Vegas and mattress commercials. Close your eyes and imagine what it would be like to wake up one day and be Joey Heatherton. On July 8, 1985, it must not have felt so hot. Joey, goddess, was detained in the U.S. passport office at Rockefeller Center for allegedly becoming abusive at not receiving special treatment in the passport line. Supposedly, she threw a tantrum, grabbed passport-office clerk, Mary Polik, tore her hair out and smashed her head against the Formica counter. Oh, well, nobody's perfect.