A Quote by Tommy Bond

Parks said, he's guilty and that's the end of the story. — © Tommy Bond
Parks said, he's guilty and that's the end of the story.
In the end, the railroads made America and nanotech will make the 21st century, and that is the end of the story. The beginning of the story and the end of the story.
There are too many people coming to parks doing the wrong things. They treat the parks like popcorn playgrounds. They don't understand what the national parks mean.
We got kind of into a rhythm at 'Parks' because there were so many characters that we had an A story, a B story, and a C story just about every episode. So by the middle of that show's run, we always had three stories, and it worked really well.
There is nothing so American as our national parks. The scenery and the wildlife are native. The fundamental idea behind the parks is native. It is, in brief, that the country belongs to the people, that it is in process of making for the enrichment of the lives of all of us. The parks stand as the outward symbal of the great human principle.
But you speak of Master Gandalf, as if he was in a story that had come to an end.' 'Yes, we do,' said Pippin sadly. 'The story seems to be going on, but I am afraid Gandalf has fallen out of it.
Alison [McGhee] and I have known each other since the summer of 2001. One evening we were sitting around talking about how we wished we had a good story to work on. Alison said: Why don't we work on a story together? I said: A story about what? And Alison said: A story about a short girl and a tall girl.
So I was still guilty. And if I was not guilty because one cannot be guilty of betraying a criminal, then I was guilty of having loved a criminal.
In the end, this is a difficult story to sum up. The making of the atomic bomb is one of history's most amazing examples of teamwork and genius and poise under pressure. But it's also the story of how humans created a weapon capable of wiping our species off the planet. It's a story with no end in sight. And, like it or not, you're in it.
"What for?" I said. "What for, Tante Lou? He treated me the same way he treated her. He wants me to feel guilty, just as he wants her to feel guilty. Well, I'm not feeling guilty, Tante Lou. I didn't put him there. I do everything I know how to do to keep people like him from going there. He's not going to make me feel guilty."
It's only a story, you say. So it is, and the rest of life with it - creation story, love story, horror, crime, the strange story of you and I. The alphabet of my DNA shapes certain words, but the story is not told. I have to tell it myself. What is it that I have to tell myself again and again? That there is always a new beginning, a different end. I can change the story. I am the story. Begin.
Once you know the end of the story, every part of the story contains that end, and is only a way of reaching it.
The influence of (the national parks) is far beyond what is usually esteemed or usually considered. It has a relation to efficiency -- the working efficiency of the people, to their health, and particularly to their patriotism -- which would make the parks worth while, if there were not a cent of revenue in it, and if every visitor to the parks meant that the Government would have to pay a tax of $1 simply to get him there.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
We know story collections end when they end, as well - the pages serving as a countdown - but nevertheless the standard story anthology hews closer to what makes being human so hard: it reminds you with each story how quickly everything we are, everything we call our lives can change, can be upended, can disappear. Never to return.
Mr. Montag, you are looking at a coward. I saw the way things were going a long time back. I said nothing. I am one of the innocents who could have spoken up and out when no one would listen to the 'guilty,' but I did not speak and thus became guilty myself.
I've always had a thing for theme parks and their less-glorious cousins, amusement parks, the carnival midway, and others of such ilk.
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