Car Drift Quotes & Sayings

The other aspect of those weekday-evening trips he loved was the light itself, how it filled the train like something living as the cars rattled across the bridge, how it washed the weariness from his seatmates' faces and revealed them as they were when they first came to the country, when they were young and America seemed conquerable. He'd watch that kind light suffuse the car like syrup, watch it smudge furrows from foreheads, slick gray hairs into gold, gentle the aggressive shine from cheap fabrics into something lustrous and fine. And then the sun would drift, the car rattling uncaringly away from it, and the world would return to its normal sad shapes and colors, the people to their normal sad state, a shift as cruel and abrupt as if it had been made by a sorcerer's wand. — Hanya Yanagihara

Austin?" she whispered, not sure what to do.
He turned to her and pulled her into his arms. Her mouth opened in surprise and the next thing she knew, he was kissing her. His mouth was warm against here. At first, she was too stunned to react. But after a moment, she put her arms around his neck and lost herself in the kiss.
As the headlights of the sheriff's car washed over them, the golden glow seemed to warm the night because she no longer felt cold. She let out a small helpless moan as Austin deepened the kiss, drawing her even closer.
As the sheriff's card went on past, she felt a pang of regret. Slowly, Austin drew back a little. His gaze locked with hers, and for a moment they stood like that, their quickened warm breaths coming out in white clouds.
"Sorry."
She shook her head. She wasn't sorry. She felt...light-headed, happy, as if helium filled. She thought she might drift off into the night if he let go of her. — B. J. Daniels

She let her mind drift, thinking about new lingerie designs, wishing she'd brought along her sketchpad. Inspiration could strike at the most inconvenient times--in the shower, in the car, on this road--but she was grateful it was with her again, an old companion with whom she was getting reacquainted, pleased to find they could take up where they'd left off, as if there'd been no estrangement at all. — Heather Barbieri

It's not that I have any moral compunctions about work ... but grampa may die to-morrow and he may live for ten years. Meanwhile we're living above our income and all we've got to show for it is a farmer's car and a few clothes. We keep an apartment that we've only lived in three months and a little old house way off in nowhere. We're frequently bored and yet we won't make any effort to know any one except the same crowd who drift around California all summer wearing sport clothes and waiting for their families to die. — F Scott Fitzgerald

She was as lovely as ever, my Jessie Anne. I paused for a moment, taking her beauty in, laying up this vision of her in the deepest and most secret place of my mind, allowing the sight of her to renew my spirit. I stepped slowly down to the platform, never allowing my gaze to drift from her. Jessie Anne was looking toward the front of the car, and it was a moment or two before she turned and spotted me.
The bright and hopeful smile I had so expected and longed for darkened, just for a moment to be sure, but long enough for me to recognize a fleeting glimpse of shock and anguish, possibly of horror. No longer did she see the man she had known, the man she had given her life to. No, she saw me for the man I truly was, the man with blood on his hands. — Karl A. Bacon

The literary experience extends impression into discourse. It flowers to thought with nouns, verbs, objects. It thinks. Film implodes discourse, it deliterates thought, it shrinks it to the compacted meaning of the preverbal impression or intuition or understanding. You receive what you see, you don't have to think it out ... Fiction goes everywhere, inside, outside, it stops, it goes, its action can be mental. Nor is it time-driven. Film is time-driven, it never ruminates, it shows the outside of life, it shows behavior. It tends to the simplest moral reasoning. Films out of Hollywood are linear. The narrative simplification of complex morally consequential reality is always the drift of a film inspired by a book. Novels can do anything in the dark horrors of consciousness. Films do close-ups, car drive-ups, places, chases and explosions. — E.L. Doctorow