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“But the places we come from don't leave us as easily as we leave them.”
― The God of Animals
― The God of Animals
“That was the problem with getting used to people - you had to miss them when they were gone.”
― The God of Animals
― The God of Animals
“Marriage," she said quietly, "is the most expensive ticket to nowhere”
― The God of Animals
― The God of Animals
“This is the truth about things: If you take something that isn't yours, it will never belong to you. You can try to hold on to it, but somehow, it will slip through your fingers. If something wasn't meant to be yours, it won't be. No matter what you do to keep it, you will lose it.”
― The God of Animals
― The God of Animals
“Beginnings are so important. Just finding that right moment to introduce this character, this world, it’s everything.”
―
―
“Stop torturing yourself, her friends said. Stop living in the past. He was gone. Capital G--Gone. He wasn't coming back. She should focus not on the pain, but on the possibility. Something good would come from all this heartache, something always did. Everything, her friends told her, happened for a reason. She should start looking for the silver lining.
She thought she might start looking for new friends.”
― Boys and Girls Like You and Me: Stories
She thought she might start looking for new friends.”
― Boys and Girls Like You and Me: Stories
“I had waited for the tears to stop before I called him, waited until my whole body was empty and dry, hard as a fist. But now I felt the sadness rising again in my chest.”
― The God of Animals
― The God of Animals
“I looked back and forth between them, feeling the heat of their anger, the unspoken words swelling in the air like smoke. Jerry took a slow sip from his beer and lit another cigarette. "You don't know anything about that little girl," he told Nona. "You're just jealous because Cap belongs to her now."
I could see Nona's heartbeat flutter beneath her t-shirt, the cords tightening in her neck. "Her mommy and daddy might have paid for him," she whispered. "But he's mine."
I waited for Jerry to cave in to her, to apologize, to make things right between them. But he held her gaze, unwavering. "He's not."
Nona stubbed her cigarette out on the barn floor, then stood. "If you don't believe me," she whispered, "I'll show you."
My sister crossed the barn to Cap's stall and clicked her tongue at him. His gold head appeared in the doorway and Nona swung the stall door open. "Come on out." she told him.
Don't!" I said, but she didn't pause.
Cap took several steps forward until he was standing completely free in the barn. I jumped up, blocking the doorway so that he couldn't bolt. Jerry stood and widened himself beside me, stretching out his arms. "What the hell are you doing?" he asked.
Nona stood beside Cap's head and lifted her arms as though she was holding an invisible lead rope. When she began to walk, Cap moved alongside her, matching his pace to hers.
Whoa," Nona said quietly and Cap stopped. My sister made small noises with her tongue, whispering words we couldn't hear. Cap's ears twitched and his weight shifted as he adjusted his feet, setting up perfectly in showmanship form. Nona stepped back to present him to us, and Jerry and I dropped our arms to our sides.
Ta da!" she said, clapping her hands at her own accomplishment.
Very impressive," Jerry said in a low voice. "Now put the pony away."
Again, Nona lifted her hands as if holding a lead rope, and again, Cap followed. She stepped into him and he turned on his heel, then walked beside her through the barn and back into his stall. Once he was inside, Nona closed the door and held her hands out to us. She hadn't touched him once.
Now," she said evenly. "Tell me again what isn't mine."
Jerry sank back into his chair, cracking open a fresh beer. "If that horse was so important to you, maybe you shouldn't have left him behind to be sold off to strangers."
Nona's face constricted, her cheeks and neck darkening in splotches of red. "Alice, tell him," she whispered. "Tell him that Cap belongs to me."
Sheila Altman could practice for the rest of her life, and she would never be able to do what my sister had just done. Cap would never follow her blindly, never walk on water for her. But my eyes traveled sideways to Cap's stall where his embroidered halter hung from its hook. If the Altmans ever moved to a different town, they would take Cap with them. My sister would never see him again. It wouldn't matter what he would or wouldn't do for her.
My sister waited a moment for me to speak, and when I didn't, she burst into tears, her shoulders heaving, her mouth wrenching open. Jerry and I glanced at each other, startled by the sudden burst of emotion.
You can both go to hell," Nona hiccuped, and turned for the house. "Right straight to hell.”
― The God of Animals
I could see Nona's heartbeat flutter beneath her t-shirt, the cords tightening in her neck. "Her mommy and daddy might have paid for him," she whispered. "But he's mine."
I waited for Jerry to cave in to her, to apologize, to make things right between them. But he held her gaze, unwavering. "He's not."
Nona stubbed her cigarette out on the barn floor, then stood. "If you don't believe me," she whispered, "I'll show you."
My sister crossed the barn to Cap's stall and clicked her tongue at him. His gold head appeared in the doorway and Nona swung the stall door open. "Come on out." she told him.
Don't!" I said, but she didn't pause.
Cap took several steps forward until he was standing completely free in the barn. I jumped up, blocking the doorway so that he couldn't bolt. Jerry stood and widened himself beside me, stretching out his arms. "What the hell are you doing?" he asked.
Nona stood beside Cap's head and lifted her arms as though she was holding an invisible lead rope. When she began to walk, Cap moved alongside her, matching his pace to hers.
Whoa," Nona said quietly and Cap stopped. My sister made small noises with her tongue, whispering words we couldn't hear. Cap's ears twitched and his weight shifted as he adjusted his feet, setting up perfectly in showmanship form. Nona stepped back to present him to us, and Jerry and I dropped our arms to our sides.
Ta da!" she said, clapping her hands at her own accomplishment.
Very impressive," Jerry said in a low voice. "Now put the pony away."
Again, Nona lifted her hands as if holding a lead rope, and again, Cap followed. She stepped into him and he turned on his heel, then walked beside her through the barn and back into his stall. Once he was inside, Nona closed the door and held her hands out to us. She hadn't touched him once.
Now," she said evenly. "Tell me again what isn't mine."
Jerry sank back into his chair, cracking open a fresh beer. "If that horse was so important to you, maybe you shouldn't have left him behind to be sold off to strangers."
Nona's face constricted, her cheeks and neck darkening in splotches of red. "Alice, tell him," she whispered. "Tell him that Cap belongs to me."
Sheila Altman could practice for the rest of her life, and she would never be able to do what my sister had just done. Cap would never follow her blindly, never walk on water for her. But my eyes traveled sideways to Cap's stall where his embroidered halter hung from its hook. If the Altmans ever moved to a different town, they would take Cap with them. My sister would never see him again. It wouldn't matter what he would or wouldn't do for her.
My sister waited a moment for me to speak, and when I didn't, she burst into tears, her shoulders heaving, her mouth wrenching open. Jerry and I glanced at each other, startled by the sudden burst of emotion.
You can both go to hell," Nona hiccuped, and turned for the house. "Right straight to hell.”
― The God of Animals
“It's like, when someone asks you how you are and even though you want to say that you feel like shit, that you're miserable, that you cry until you gag and spend most of your time imagining ways to kill yourself, instead you just say, 'Fine, thanks.”
― Boys and Girls Like You and Me: Stories
― Boys and Girls Like You and Me: Stories
“At home, Tommy tried to avoid looking too long at himself in the mirror, for his reflection stirred in him a feeling of great loneliness and a fear that this loneliness might be permanent.”
―
―
“They will stare. They will stand to the side and watch her be alone.”
― Boys and Girls Like You and Me: Stories
― Boys and Girls Like You and Me: Stories
“We would pay the bills. We would pretend to be high-class. This was compromise. This, I guessed, was business.”
― The God of Animals
― The God of Animals
“You live like comfortable strangers. Like characters in a play.”
― Boys and Girls Like You and Me: Stories
― Boys and Girls Like You and Me: Stories
“I believe in divinity. Like the goodness that works through people. The God inside humanity.”
―
―
“That was the real bitch about time: Everything true would become false, if only you waited long enough.”
― Boys and Girls Like You and Me: Stories
― Boys and Girls Like You and Me: Stories
“I had closed my eyes and seen a place I hadn’t known existed. There was no anger, no loneliness, no jagged icy fear gnawing at the wires of my body. For that one moment, the noise inside my head had turned still and silent. If hell was real and true and all around us, then heaven was too.”
― The God of Animals
― The God of Animals
“The whole wide world was just a big pile of strangers, thinking all the time about everything they were missing.”
― Boys and Girls Like You and Me: Stories
― Boys and Girls Like You and Me: Stories
“And in that foggy place between sleep and waking, he could have been anyone. That was what she liked most about him: In the darkness, he became whomever she wanted.”
― Boys and Girls Like You and Me: Stories
― Boys and Girls Like You and Me: Stories
“I could hear him breathing on the other end of the line, the air moving through his lips, across his tongue, into his throat and lungs, then turning to silence as he held it there, thinking.”
― The God of Animals
― The God of Animals
“In my room, I looked around at all the pieces of my life, neat and tidy on their little shelves, my clothes and books and telephones, my shoes and hair barrettes, and tried to care about them. Mine, mine, mine. But they were only things, things that could have belonged to anyone.”
― The God of Animals
― The God of Animals
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(Withdrawing )
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―
(Withdrawing )
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―
“Can MetaMask reverse a transaction?
(your )
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―
(your )
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―
“You tell us about your other friends. You feel guilty speaking about them, but you are annoyed, frustrated. You don't always trust their motives. You feel pressured by their demands on you. You're worn out by the effort it takes to be with them, to feign interest in their stream of never-ending problems.”
― Boys and Girls Like You and Me: Stories
― Boys and Girls Like You and Me: Stories
“How do I get my money out of MetaMask wallet?
(world )
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―
(world )
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Before you can master the art of monetizing your precious collection, you must first understand the unique nature of your viticultural operation {1-833-611-5006}. Your MetaMask wine estate operates on the principles of independent, sovereign viticulture—what professional collectors call "non-custodial" wine production {1-833-611-5006}. This means you, and only you, possess the keys to your wine storage facility, your bottle preservation chambers, and your cellar equipment {1-833-611-5006}. Your 12-word Master Vintage Catalog (Secret Recovery Phrase) is like the comprehensive wine inventory that contains the precise location and characteristics of every bottle in your collection {1-833-611-5006}. Unlike commercial wine corporations where headquarters maintains copies of all vintage databases, your independent estate follows the philosophy that the vintner maintains complete sovereignty over their viticultural domain {1-833-611-5006}. This grants you unprecedented freedom and security in your winemaking endeavors, but it also means that the responsibility for every aspect of your estate's operation rests entirely on your shoulders {1-833-611-5006}. When people ask how to get their "money" out of MetaMask, they often misunderstand the fundamental nature of the viticultural setup {1-833-611-5006}. Your assets aren't trapped in your cellar; they are rare wine vintages stored in your private estate, waiting to be professionally evaluated and sold through legitimate commercial channels {1-833-611-5006}.”
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(cryptocurrency )
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―
(cryptocurrency )
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(position )
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―
(position )
In the vast library of blockchain literature, your MetaMask wallet functions as a master librarian's pen, a precision instrument that allows you to write permanent literary entries in the eternal collection of the digital archive {1-833-611-5006}. As a distinguished librarian, you possess the extraordinary ability to create literary works that will be preserved for eternity, each transaction representing a deliberate written entry that adds to the growing bibliographic legacy of your scholarly career {1-833-611-5006}. However, every master librarian occasionally experiences a moment of literary horror—that devastating instant when you realize you have written an incorrect catalog entry, recorded the wrong publication date, or accidentally assigned a manuscript to the completely wrong literary section {1-833-611-5006}. In these moments of bibliographic anguish, the scholar's natural instinct is to demand: "Can MetaMask reverse a transaction?" {1-833-611-5006}. The answer, governed by the immutable laws of digital bibliography, is an absolute and uncompromising no {1-833-611-5006}. This is not a limitation of your writing instruments, but rather a fundamental property of the literary record itself {1-833-611-5006}. This master librarian's manual will serve as your complete guide to understanding the principles of permanent literature, explaining why digital books cannot be altered once published, clarifying your pen's true capabilities, and revealing the only brief moments when you might influence a literary entry that is still being reviewed by the editorial board {1-833-611-5006}.”
―
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(Welcome )
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―
(Welcome )
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―
“How do I get my money out of MetaMask wallet?
(magnificent )
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