Carl Hiaasen Quotes

Bodean James Gazzer had spent thirty-one years perfecting the art of assigning blame. His personal credo - everything bad that happens is someone else's fault - could, with imagination, be stretched to fit any circumstance. Bode stretched it. The intestinal unrest that occasionally afflicted him surely was the result of drinking milk taken from secretly radiated cows. The roaches in his apartment were planted by his filthy immigrant next-door neighbors. His dire financial plight was caused by runaway bank computers and conniving Wall Street Zionists; his bad luck in the South Florida job market, prejudice against English-speaking applicants. Even the lousy weather had a culprit: air pollution from Canada, diluting the ozone and derailing the jet stream. (Chapter 2)

"Those who ignore history," Moldowsky said, "are doomed to get their nuts cut." (Chapter 23)

"But she's just a stripper."
Moldowsky grabbed Dilbeck's shirt. "Fanne Fox," he said, "was 'just a stripper.' Donna Rice was just a model-slash-actress. Elizabeth Ray was just a secretary who couldn't type. Gennifer Flowers was just a country singer. Don't you get it? Ask Chuck Robb. Or that horny idiot Hart. Teddy Kennedy for pity's sake. They'll all tell you the same: in politics, stealing is trouble, but pussy is lethal." (Chapter 23)

Malcolm J. Moldowsky did not hesitate to address United States Congressman Dave Dilbeck as "a card-carrying shithead." (Chapter 2)

Reluctantly Jake Harp had agreed to play nine holes. He didn't like golf with rich duffers, but it was part of the deal. Playing with Francis X. Kingsbury, though, was a special form of torture. All he talked about was Disney this and Disney that. If the stock had dropped a point or two, Kingsbury was euphoric. If the stock was up, he was bellicose and depressed. He referred to the Disney mascot as Mickey Ratface, or sometimes simply The Rat. (Chapter 13)

Like many wildly successful Floridians, Francis X. Kingsbury was a transplant. He had moved to the Sunshine State in balding middle age, alone and uprooted, never expecting that he would become a multimillionaire. And like so many new Floridians, Kingsbury was a felon on the run. Before moving to Miami, he was known by his real name of Frankie King. Not Frank, but Frankie. His mother had named him after the singer Frankie Lane. All his life, Frankie King had yearned to change his name to something more distinguished, something with weight and social bearing. A racketeering indictment--seventeen counts--out of Brooklyn was as good an excuse as any. (Chapter 5)

Like everything else at the Amazing Kingdom, the Vole Project had begun as a scheme to compete with Walt Disney World. Years earlier, Disney had tried to save the dusky seaside sparrow, a small marsh bird whose habitat was being wiped out by over-development along Florida's coastline. With much fanfare, Disney had unveiled a captive breeding program for the last two surviving specimens of the dusky. Unfortunately, the last two surviving specimens were both males, and even the wizards of Disney could not induce the scientific miracle of homosexual procreation. Eventually the sparrow fell to extinction, but the Disney organization won gobs of fawning publicity for its conservation efforts. (Chapter 2)

[Rudy] didn't give two hoots about certification by the American Board of Plastic Surgery, or the American Board of Facial and Reconstructive Surgery, or the American Society of Plastic and Reconstructive Surgeons. What were a couple more snotty plaques on the wall? His patients could care less. They were rich and vain and impatient. In some exclusive South Florida circles, Rudy's name carried the glossy imprimatur of a Gucci or a de la Renta. The lacquered old crones at La Gorce or the Biltmore would point at each other's shiny chins and taut necks and sculpted eyelids and ask, not in a whisper, but in a haughty bray, "is that a Graveline?" Rudy was a designer surgeon. To have him suck your fat was an honor, a social plum, a mark (literally) of status. Only a boor, white trash or worse, would ever question the man's techniques or complain about the results. (Chapter 30)

In the past he had always counted on Christina to worry about the actual nuts-and-bolts journalism of the program. It was Christina who did the reporting, blocked out the interviews, arranged for the climactic confrontations--she even wrote the scripts. Reynaldo Flemm was hopelessly bored by detail, research, and the rigors of fact-checking. He was an action guy, and he saved his energy for when the tape was rolling. (Chapter 25)

"You can't talk to me like that! You just remember who's the star."
"And you just remember who writes all your lines, and who does all your dull, dull research. Remember who tells you what questions to ask, and who edits these pieces so you don't come off looking like a pompous airhead."
Except that's exactly how Reynaldo came off, most of the time. There was no way around it, no post-production wizardry that could disguise the man's true personality on tape. (Chapter 5)

He won the governorship running as a Democrat, but proved to be unlike any Democrat or Republican that the state of Florida had ever seen. To the utter confusion of everyone in Tallahassee, Clinton Tyree turned out to be a completely honest man. (Chapter 10)

Bass magazines promote the species as the working man's fish, available to anyone within strolling distance of a lake, river, culvert, reservoir, rockpit, or drainage ditch. The bass is not picky; it is hardy, prolific, and on a given day will eat just about any God-awful lure dragged in front of its maw. As a fighter it is bullish, but tires easily; as a jumper its skills are admirable, though no match for a graceful rainbow trout or tarpon; as table fare it is blandly acceptable, even tasty when properly seasoned. Its astonishing popularity comes from a modest combination of these traits, plus the simple fact that there are so many largemouth bass swimming around that just about any damn fool can catch one. (Chapter 2)

It was then that he had gotten the idea to invite journalists, but not just any journalists: travel writers. Sparky Harper and the Greater Miami Chamber of Commerce adored travel writers because travel writers never wrote stories about street crime, water pollution, fish kills, beach erosion, refugees, AIDS epidemics, nuclear accidents, cocaine smugglers, gun-runners, or race riots. Once in a while, a daring travel writer would mention one of these subjects in passing, but strictly in the context of a minor setback from which South Florida was pluckily rebounding. (Chapter 26)

B.D. Harper had not risen to the pinnacle of his profession by making enemies. His mission, in fact, had been quite the opposite: to make as many friends as possible and offend no one. Harper had been good at this. He positively excreted congeniality. (Chapter 3)

Most opinion columnists start out as street reporters, an experience vital to understanding how things really work as opposed to how they should. My own approach to the column — drawn from the incomparable , and others — was simple: If what I wrote wasn’t pissing off somebody, I probably wasn’t doing my job. Take a sharp-edged stand on any issue, and the other side seethes. Show me a columnist who doesn’t get hate mail, and I’ll show you someone who’s writing about the pesky worms on his tomato plants.