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Nadine Gordimer

Nadine Gordimer (20 November 1923 – 13 July 2014) was a South African Jewish novelist and writer, winner of the 1991 Nobel Prize in literature and 1974 Booker Prize.*, recognized as a writer "who through her magnificent epic writing has ... been of very great benefit to humanity".

Quotes

 * The truth isn't always beauty, but the hunger for it is.
 * "Leaving School—II", The London Magazine (May 1963)

 * The gap between the committed and the indifferent is a Sahara whose faint trails, followed by the mind's eye only, fade out in sand.
 * "Great Problems in the Street," in I Will Still Be Moved (1963) ed. by Marion Friedmann

 * I opened the telegram and said, "He's dead —" and as I looked up into Graham Mill's gaze I saw that he knew who, before I could say.
 * The Late Bourgeois World (1966) (first lines)

 * Change the world but keep bits of it the way I like it for myself — who wouldn’t make the world over if it were to be as easy as that.
 * The Conservationist (1974)

 * I like the idea of a literary patchwork, novel by novel, poem by poem, by different writers, mapping out an era, 'a continent' more and more thoroughly. No one writer can do it. (1979)
 * 1979 interview in Conversations with Nadine Gordimer edited by Nancy Topping Bazin and Marilyn Dallman Seymour (1990)

 * I think that the decision to be sincere is an artistic one.
 * 1982 interview in ''Conversations with Nadine Gordimer edited by Nancy Topping Bazin and Marilyn Dallman Seymour (1990)

 * Writing is making sense of life. You work your whole life and perhaps you've made sense of one small area.
 * Interview with Jannika Hurwitt, published in Paris Review, 88 (Summer 1983) 82–127; reprinted in Writers at Work: The Paris Review Interviews, Sixth Series (1984) (the interview took place in two parts: fall 1979/spring 1980)

 * Novelists and short-story writers provide implicitly a critique of their society…A good writer can't help revealing the truth that is in his society and by that token there is a political implication and he is politically committed. (1983)
 * 1983 interview in Conversations with Nadine Gordimer edited by Nancy Topping Bazin and Marilyn Dallman Seymour (1990)

 * In countries like Czechoslovakia, like South Africa, like Argentina, guilt by association is a fact and therefore the friendships you form can be a political act. This circumstance, way of life, is very complex. People think that a political act is signing a declaration or planting a bomb, but there are all kinds of political acts in countries where there is a great political struggle going on.
 * 1983 interview in Conversations with Nadine Gordimer

 * I think that as long as those of us in South Africa who are articulate are asked to go abroad, and we know we are going to be interviewed, we cannot refuse. There are so many people in South Africa, within the country, who are muzzled. And there are others who may not be muzzled within South Africa but whose passports are withdrawn, people like Bishop Desmond Tutu-a very important voice; you know, a writer is nothing compared with him. He is a big figure, a real leader, and he can't go abroad and speak. So I think that those of us who can, as long as we can, we have to use the opportunity.
 * 1984 interview in Conversations with Nadine Gordimer edited by Nancy Topping Bazin and Marilyn Dallman Seymour (1990)

 * Responsibility is what awaits outside the Eden of Creativity.
 * "The Essential Gesture" (12 October 1984)

 * There was no mistaking her. She was a young woman whose cultivated gentleness of expression and shabby homespun style of dress, in the context in which she was encountered, suggested not transcendental meditation centre or environmental concern group or design studio, but a sign of identification with the humanity of those who had nothing and risked themselves.
 * "Crimes of Conscience", collected in Something Out There (1984)

 * 'Even the cat buries its dirt; I carry mine around with me.' She thought of saying it aloud many times in the weeks after she came home from the hospital.
 * first lines of "Terminal", collected in Something Out There (1984)

 * The creative act is not pure. History evidences it. Sociology extracts it. The writer loses Eden, writes to be read and comes to realize that he is answerable.
 * The Tanner Lectures on Human Values (1985) ed. Sterling McMurrin

 * Censorship is never over for those who have experienced it. It is a brand on the imagination that affects the individual who has suffered it, forever.
 * "Censorship and its Aftermath" (June 1990)

 * In every encounter between human beings there is a pace set that belongs to them, and that will be taken up in its own rhythm whenever they are together.
 * None to Accompany Me (1994)

 * Everyone wears the uniform of how he sees himself or how he disguises himself.
 * The House Gun (1997)

 * What is shameful cannot be shared. What is shameful, separates.
 * The House Gun (1997)

 * You can't change a regime on the basis of compassion. There's got to be something harder.
 * "'A feeling of realistic optimism': An interview with Nadine Gordimer" by Karen Lazar, Salmagundi 113 (Winter 1997)

 * I shall never write an autobiography, I'm much too jealous of my privacy for that.
 * "The conscience of South Africa talks about her country's new racial order" (1998) by Dwight Garner

 * Mostly I'm interviewed by white people, and identified with white society.
 * "The conscience of South Africa talks about her country's new racial order" (1998) by Dwight Garner

 * Well, you know, in the fundamentalist milieu of the Afrikaners, there was a sense that they were a chosen people, that they were bringing civilization to the blacks.
 * "The conscience of South Africa talks about her country's new racial order" (1998) by Dwight Garner

 * Can there be the phenomenon of a world state of mind?
 * "Fear Eats the Soul" (2003), included in Telling Times: Writing and Living, 1954-2008 (2010)

 * time is on a plane of existence great writers sometimes penetrate
 * Nadine Gordimer "Fear Eats the Soul" (2003)

 * Fear. It's unacknowledged; shared by friend and foe if nothing else is.
 * "Fear Eats the Soul" (2003)

 * Dangers are relative, over time and distance; fear is relative, whether it menaces a multitude or a single life, but it always demands the same answers: a yes, or a no. Capitulate within oneself, or refuse to submit to attrition, fear that eats the soul.
 * "Fear Eats the Soul" (2003)

 * Success sometimes may be defined as a disaster put on hold. Qualified. Has to be.
 * Get a Life (2005)

 * There are two kinds of leaders in the species humankind. There is the man or woman of personal ambition, and there is the man or woman who creates a self out of response to people's needs, the call of conscience against oppression, injustice, and sufferings of any nature within our human condition. To the one, the drive comes narrowly from within; to the other it is a charge of energy which comes in others needs and the demands these make on all of us who share humanity. Conscience is a form of solidarity.
 * speech (2006)

An ideology passionately held becomes a faith by which its adherents live and act.
 * "Faith, Reason and War" (2006), included in Telling Times: Writing and Living, 1954-2008 (2010)

 * The question mark remains. It hangs over peace negotiations - that vital base for the answer an outsider who believes in justice surely must support: two fully independent states on agreed, realistic frontiers.
 * about Israel and Palestine. "Experiencing Two Absolutes" (2008), included in Telling Times: Writing and Living, 1954-2008 (2010)

 * Without real opposition you get dictators down the line. Idi, Amin, Mugabe. No democracy without opposition.
 * No Time Like the Present (2010)

 * No globalisation without a human face.
 * A Letter to Future Generations (1999), included in Telling Times: Writing and Living, 1954-2008 (2010)

 * There can be no global culture while there are inhabitants deprived of the ability to read, to have access to the powers of the imagination released through the written word, through literature; deprived of the intellectual and spiritual bounty of libraries.
 * A Letter to Future Generations (1999)

 * Art defies defeat by its very existence, representing the celebration of life, in spite of all attempts to degrade and destroy it.
 * As quoted at ContemporaryWriters.com

 * Learning to write sent me falling, falling through the surface of the South African way of life.
 * As quoted at ContemporaryWriters.com

A Lion on the Freeway (1950)

 * Anyone who lives within a mile of the zoo hears lions on summer nights. A tourist could be fooled.  Africa already; at last, even though he went to bed in yet another metropole.

 * Just before light, when it's supposed to be darkest, the body's at its lowest ebb and in the hospital on the hill old people die the night opens, a Black hole between stars, and from it comes a deep panting. Very distant and at once very close, right in the year, for the sound of breath is always intimate.It grows and gorws, a rising groan lifs out of the curved bars of the cage and hangs above the whole city -- And then it drops back, sinks away, becomes panting again.

 * Wait for it; it will fall so quiet, hardly more than a faint roughness snagging the air in the ear's chambers. ... And begins once more. The panting reaches up up up down down down to that awe-ful groan!
 * The zoo lions do no utter during the day. They yawn; wait for their ready-slaughtered kill to be tossed at them; keep their unused claws sheathed in huge harmless pads on which top-heavy, untidy heads rest,... gazing through lid-slats with what zoo visitors think of in sentimental prurience as yearning.Or once we were near the Baltic and the leviathan hooted from the night fog at sea. But would I dare to open my mouth now?  Could I trust my breath to be sweet, these stale nights?

 * It's only on warm summer nights that the lions are restless. What they're seeing when they gaze during the day is nothing, their eyes are open but they don't see us -you can tell that when the lens of the pupil suddenlys shutters at the close swoop0 of one of the popcorn-begging pigeons through the bars of the cage. ... It's only on certain nights that their muscles flex and they begin to pant,their flanks heave as if they had been running through the dark night while other creatures shrank from their path, their jaws hang tense and wet as saliva flows as if in response to a scent of prey, at last they heave up their too-big heads, heavy, heavy heads, and out it comes. Out over the suburbs. A dreadful straining of the bowels to deliver itself; a groan that hangs above the houses in a low-lying cloud of smog and anguish.

 * No one can say what it was the white soldier said over the telephone to his commanding officer, and if the commanding officer had told him what was going to be done, or whether the white soldier knew, as a matter of procedure laid down in his military training for this kind of war, what would be done. The police found the bicycle beneath his dangling shoes. So the family hanger-on still rides it; it would have been lost if it had been safe in the kitchen when the raid came. No one knows where the chief found a rope, in the ruins of the village

Burger's Daughter (1979)

 * Among the group of people waiting at the fortress was a schoolgirl in a brown and yellow uniform holding a green eiderdown quilt and, by the loop at its neck, a red hot-water bottle. (First lines)

 * There are always sources of desolation that aren't taken into account because no one knows what they will be.
 * page 15

 * Strong emotion - faith? - has different ways of being manifested among the different disciples within which people order their behaviour.
 * page 33

 * Communists are the last optimists.
 * Conrad, p. 42

 * Sentiment is for those who don't know what to do next.
 * Rosa Burger, p. 130

 * The blackman is not fighting for equality with whites. Blackness is the blackman refusing to believe the whiteman's way of life is best for blacks.
 * page 163

 * The main reason why we're still where we are is blacks haven't united as blacks because we're told all the time to do it is to be racist.
 * page 163

 * Our liberation cannot be divorced from black consciousness because we cannot be conscious of ourselves and at the same time remain slaves -
 * page 164

 * When the body is no longer an attraction, an expression of desire, to bare your breasts and belly is simple; you lay like dogs or cats grateful for the sun.
 * page 239

 * But there's no indemnity. You can't be afraid to do good in case evil results.
 * page 296

 * It'll be enough to take your mind off your stomach. - When lovers cannot touch, they tease each other instead.
 * page 298

Interview with The Paris Review (1979/80)

 * after my first trip out, I realized that “home” was certainly and exclusively—Africa. It could never be anywhere else.

 * It was Sinclair's The Jungle that really started me thinking about politics: I thought, good God, these people who are exploited in a meat-packing factory-they're just like blacks here. And the whole idea that people came to America, not knowing the language, having to struggle in sweat shops. . . I didn't relate this to my own father, because my father was bourgeois by then... but I related it to the blacks. Again, what a paradox that South Africa was the blacks' own country, but they were recruited just as if they had been migrant workers for the mines. So I saw the analogy. And that was the beginning of my thinking about my position vis-à-vis blacks. But though I didn't know anything-I was twelve or thirteen, and leading the odd kind of life I did, living in books-I began to think about these things before, perhaps, I was ready for them. When I got to university, it was through mixing with other people who were writing or painting that I got to know black people as equals. In a general and inclusive, non-racial way, I met people who lived in the world of ideas, in the world that interested me passionately. In the town where I lived, there was no mental food of this kind at all. I’m often amazed to think how they live, those people, and what an oppressed life it must be, because human beings must live in the world of ideas. This dimension in the human psyche is very important. It was there, but they didn’t know how to express it.

 * (talking about herself while she was in university) My approach to living as a white supremacist, perforce, among blacks, was, I see now, the humanist approach, the individualistic approach. I felt that all I needed, in my own behavior, was to ignore and defy the color bar. In other words, my own attitude toward blacks seemed to be sufficient action. I didn’t see that it was pretty meaningless until much later.

 * the real influence of politics on my writing is the influence of politics on people. Their lives, and I believe their very personalities, are changed by the extreme political circumstances one lives under in South Africa. I am dealing with people; here are people who are shaped and changed by politics. In that way my material is profoundly influenced by politics.

 * in Burger’s Daughter, you could say on the face of it that it’s a book about white communists in South Africa. But to me, it’s something else. It’s a book about commitment. Commitment is not merely a political thing. It’s part of the whole ontological problem in life. It’s part of my feeling that what a writer does is to try to make sense of life. I think that’s what writing is, I think that’s what painting is. It’s seeking that thread of order and logic in the disorder, and the incredible waste and marvelous profligate character of life. What all artists are trying to do is to make sense of life.

 * there’s a fairly good relationship between black and white writers. Literature is one of the few areas left where black and white feel some identity of purpose; we all struggle under censorship, and most white writers feel a strong sense of responsibility to promote, defend, and help black writers where possible.

 * it was Proust who said that style is the moment of identification between the writer and his situation. Ideally that is what it should be—one allows the situation to dictate the style.

 * Death is really the mystery of life, isn’t it? If you ask, “What happens when we die? Why do we die?” you are asking, “Why do we live?”

 * Progress is the business of making life more safe and more enjoyable . . . fuller, generally.

 * if somebody is partly frivolous or superficial, has moments of cruelty or self-doubt, I don’t write them off, because I think that absolutely everybody has what are known as human failings.

 * a writer doesn’t only need the time when he’s actually writing—he or she has got to have time to think and time just to let things work out. Nothing is worse for this than society. Nothing is worse for this than the abrasive, if enjoyable, effect of other people.

 * I can’t understand writers who feel they shouldn’t have to do any of the ordinary things of life, because I think that this is necessary; one has got to keep in touch with that. The solitude of writing is also quite frightening. It’s quite close sometimes to madness, one just disappears for a day and loses touch. The ordinary action of taking a dress down to the dry cleaner’s or spraying some plants infected with aphids is a very sane and good thing to do. It brings one back, so to speak. It also brings the world back.

 * I would like to say something about how I feel in general about what a novel, or any story, ought to be. It’s a quotation from Kafka. He said, “A book ought to be an ax to break up the frozen sea within us.”

A Soldier's Embrace: Stories (1980)

 * The day the cease-fire was signed she was caught in a crowd. Peasant boys from Europe who had made up the colonial army and freedom fighters whose column had marched into town were staggering about together outside the barracks, not three blocks from her house in whose rooms, for ten years, she had heard the blurred parade-ground bellow of colonial troops being trained to kill and be killed.
 * first lines of "A Soldier's Embrace"

 * How to break in: with a name, a statement.
 * "You Name It"

 * You said: "...and I'm between two girls at the moment.' What exactly had led up to this statement that could have come at any time, that I had been ready for so long I began to forget it would ever come, and that you had been waiting to say for a specific length of time I could not know?
 * first lines of "Time Did"

 * When you live in a small town far from the world you read about in municipal library books, the advent of repair men in the house is a festival. Daily life is gaily broken open, improvisation takes over.
 * first lines of "The Termitary"

 * There were two soldiers in front of her, blocking her off by their clumsy embrace(how do you do it, how do you do what you've never done before) and the embrace opened like a door and took her in -- a pink hand with bitten nails grasping her right arm, a black hand with a big-dialled watch and thong bracelet pulling at her left elbow. Their three heads collided gaily,musk of sweat and tang of strong sweet soap clapped a mask to her nose and mouth.They all gasped wityh delicious shock.She put up an arm around each neck, the rough pile of an army haircut on one side, the soft negro hair on the other, and kissed them both on the cheek.  The embrace broke.
 * Page 8

 * An accolade, one side a white cheek, the other a black. The white one she kissed on the left cheek, the black one on the right, as if these were two sides of one face.
 * p.10

 * She had not kissed on the mouth,she had not sought anonymous lips and tongues inthe licence of festival.Yet she had kissed Watching herself again,she knew that She did not tell what happened not because her husband would suspect licence in her
 * Page 11

 * The ugly mansions of the rich who had fled stood empty on the bluff above the sea.
 * decoding the classics

 * She avoided walking past the barracks because of the machine guns the young sentries had in place of rifles.
 * decoding the classics

My Son's Story (1990)

 * Odd in-between period which sometimes inserts itself into historical time when not only the later historians but the actors and witnesses, the living themselves, become aware of an interval in time which is altogether determined by things that are no longer and by things that are not yet. In history, these intervals have shown more than once that they may contain the moment of truth.
 * Page 9.

 * “[T]he isotopy of fragmentation constitutes a unifying web structurally present at the level of story, text, and narration”
 * Page 28.

 * despite the fact that the narrative demonstrates that the voice of the ‘other’ can be heard and imagined, Gordimer’s attitude toward her own whiteness […] is resentful and hostile”
 * Page 71.

 * propos[ed] a future South Africa, not only on terms of equality of races but of sexes, too”
 * Page 123

 * She reminds me of pig. Our ancestors didn't eat pig.
 * Sonny's thoughts juxtaposed.

 * What had Aila done to assuage his anguish at Baby's attempt to end her life before it had begun? Nothing. Silence. Silence upon the other silence. Comfort and understanding he had had to find elsewhere.
 * Sonny reveals a major reason for his alienation from Aila.

 * It was my mother who had talked under interrogation. I know why she did. It was to be sure neither her husband nor I would be held responsible.
 * Will refers to his father as his mother's husband

Jump and Other Stories (1991)

 * Underground: this time, as at other times, he's aware of how unsuitably abstract a term that is. To hide away, you have to be out in the open of life; too soon and easily run to ground, holed up somewhere. Best safety lies in crowds. ("Safe Houses")

 * Breathe. Breath. A baby, a chicken hatching-the first imperative is to breathe. Breathless. Breathe! Out of this concentration, in which he forgets even the rhythm of his feet, is a bellows pumped by the command, the admonition, the slap on the bottom that shocks the baby into inhalation-comes his second wind. Unless you go out like this, morning and evening, you never know what no one can remember, that first discovery of independent life: I can breathe. (beginning of "Keeping Fit")

 * That night our mother went to the shop and she didn't come back. Ever. What happened? I don't know. (beginning of "The Ultimate Safari")

Speech at the Nobel Banquet (1991)

 * Full text (10 December 1991)

 * When the six-year-old daughter of a friend of mine overheard her father telling someone that I had been awarded the Nobel Prize, she asked whether I had ever received it before. He replied that the Prize was something you could get only once. Whereupon the small girl thought a moment: 'Oh' she said, 'so it's like chicken-pox.'

 * I certainly find being the recipient at this celebratory dinner more pleasurable and rewarding than chicken-pox, having now in my life experienced both. But the small girl was not entirely wrong. Writing is indeed, some kind of affliction in its demands as the most solitary and introspective of occupations.

 * We must live fully in order to secrete the substance of our work, but we have to work alone.

 * When I began to write as a very young person in a rigidly racist and inhibited colonial society, I felt, as many others did, that I existed marginally on the edge of the world of ideas, of imagination and beauty. These, taking shape in poetry and fiction, drama, painting and sculpture, were exclusive to that distant realm known as 'overseas'.

 * What we had to do to find the world was to enter our own world fully, first. We had to enter through the tragedy of our own particular place. If the Nobel awards have a special meaning, it is that they carry this concept further. In their global eclecticism they recognize that no single society, no country or continent can presume to create a truly human culture for the world. To be among laureates, past and present, is at least to belong to some sort of one world.

Writing and Being (1991)

 * Nobel Lecture (7 December 1991)

 * In the beginning was the Word. The Word was with God, signified God's Word, the word that was Creation. But over the centuries of human culture the word has taken on other meanings, secular as well as religious. To have the word has come to be synonymous with ultimate authority, with prestige, with awesome, sometimes dangerous persuation, to have Prime Time, a TV talk show, to have the gift of the gab as well as that of speaking in tongues. The word flies through space, it is bounced from satellites, now nearer than it has ever been to the heaven from which it was believed to have come.

 * Like the prisoners incarcerated with the jaguar in Borges' story, 'The God's Script', who was trying to read, in a ray of light which fell only once a day, the meaning of being from the marking on the creature's pelt, we spend our lives attempting to interpret through the word the readings we take in the societies, the world of which we are part. It is in this sense, this inextricable, ineffable participation, that writing is always and at once an exploration of self and of the world; of individual and collective being.

 * Humans, the only self-regarding animals, blessed or cursed with this torturing higher faculty, have always wanted to know why.

 * Since humans became self-regarding they have sought, as well, explanations for the common phenomena of procreation, death, the cycle of seasons, the earth, sea, wind and stars, sun and moon, plenty and disaster. With myth, the writer's ancestors, the oral story-tellers, began to feel out and formulate these mysteries, using the elements of daily life — observable reality — and the faculty of the imagination — the power of projection into the hidden — to make stories.

 * Myth was the mystery plus the fantasy — gods, anthropomorphized animals and birds, chimera, phantasmagorical creatures — that posits out of the imagination some sort of explanation for the mystery. Humans and their fellow creatures were the materiality of the story, but as Nikos Kazantzakis once wrote, 'Art is the representation not of the body but of the forces which created the body.'

 * There are many proven explanations for natural phenomena now; and there are new questions of being arising out of some of the answers. For this reason, the genre of myth has never been entirely abandoned, although we are inclined to think of it as archaic. If it dwindled to the children's bedtime tale in some societies, in parts of the world protected by forests or deserts from international megaculture it has continued, alive, to offer art as a system of mediation between the individual and being. And it has made a whirling comeback out of Space, an Icarus in the avatar of Batman and his kind, who never fall into the ocean of failure to deal with the gravity forces of life.

 * Perhaps it is the positive knowledge that humans now possess the means to destroy their whole planet, the fear that they have in this way themselves become the gods, dreadfully charged with their own continued existence, that has made comic-book and movie myth escapist.

 * The forces of being remain. They are what the writer, as distinct from the contemporary popular mythmaker, still engage today, as myth in its ancient form attempted to do.

 * The writer in relation to the nature of perceivable reality and what is beyond — imperceivable reality — is the basis for all these studies, no matter what resulting concepts are labelled, and no matter in what categorized microfiles writers are stowed away for the annals of literary historiography. Reality is constructed out of many elements and entities, seen and unseen, expressed, and left unexpressed for breathing-space in the mind.

 * Literary scholars end up being some kind of storyteller, too.

 * Perhaps there is no other way of reaching some understanding of being than through art? Writers themselves don't analyze what they do; to analyze would be to look down while crossing a canyon on a tightrope.

 * Any writer of any worth at all hopes to play only a pocket-torch of light — and rarely, through genius, a sudden flambeau — into the bloody yet beautiful labyrinth of human experience, of being.

 * I have said that nothing factual that I write or say will be as truthful as my fiction. The life, the opinions, are not the work, for it is in the tension between standing apart and being involved that the imagination transforms both. Let me give some minimal account of myself. I am what I suppose would be called a natural writer. I did not make any decision to become one. I did not, at the beginning, expect to earn a living by being read. I wrote as a child out of the joy of apprehending life through my senses — the look and scent and feel of things; and soon out of the emotions that puzzled me or raged within me and which took form, found some enlightenment, solace and delight, shaped in the written word.

 * I was evidence of the theory that books are made out of other books . . . But I did not remain so for long, nor do I believe any potential writer could.

 * With adolescence comes the first reaching out to otherness through the drive of sexuality. For most children, from then on the faculty of the imagination, manifest in play, is lost in the focus on day dreams of desire and love, but for those who are going to be artists of one kind or another the first life-crisis after that of birth does something else in addition: the imagination gains range and extends by the subjective flex of new and turbulent emotions. There are new perceptions. The writer begins to be able to enter into other lives. The process of standing apart and being involved has come.

 * Both Borges and Sartre, from their totally different extremes of denying literature a social purpose, were certainly perfectly aware that it has its implicit and unalterable social role in exploring the state of being, from which all other roles, personal among friends, public at the protest demonstration, derive. Borges was not writing for his friends, for he published and we all have received the bounty of his work. Sartre did not stop writing, although he stood at the barricades in 1968.

 * Camus dealt with the question best. He said that he liked individuals who take sides more than literatures that do. 'One either serves the whole of man or does not serve him at all. And if man needs bread and justice, and if what has to be done must be done to serve this need, he also needs pure beauty which is the bread of his heart.' So Camus called for 'Courage in and talent in one's work.' And Márquez redefined tender fiction thus: The best way a writer can serve a revolution is to write as well as he can. I believe that these two statements might be the credo for all of us who write. They do not resolve the conflicts that have come, and will continue to come, to contemporary writers. But they state plainly an honest possibility of doing so, they turn the face of the writer squarely to her and his existence, the reason to be, as a writer, and the reason to be, as a responsible human, acting, like any other, within a social context.

 * Being here: in a particular time and place. That is the existential position with particular implications for literature.

 * Most imprisoned writers have been shut away for their activities as citizens striving for liberation against the oppression of the general society to which they belong. Others have been condemned by repressive regimes for serving society by writing as well as they can; for this aesthetic venture of ours becomes subversive when the shameful secrets of our times are explored deeply, with the artist's rebellious integrity to the state of being manifest in life around her or him; then the writer's themes and characters inevitably are formed by the pressures and distortions of that society as the life of the fisherman is determined by the power of the sea.

 * There is a paradox. In retaining this integrity, the writer sometimes must risk both the state's indictment of treason, and the liberation forces' complaint of lack of blind commitment.

 * The writer must take the right to explore, warts and all, both the enemy and the beloved comrade in arms, since only a try for the truth makes sense of being, only a try for the truth edges towards justice just ahead of Yeats's beast slouching to be born.

 * The writer is of service to humankind only insofar as the writer uses the word even against his or her own loyalties, trusts the state of being, as it is revealed, to hold somewhere in its complexity filaments of the cord of truth, able to be bound together, here and there, in art: trusts the state of being to yield somewhere fragmentary phrases of truth, which is the final word of words, never changed by our stumbling efforts to spell it out and write it down, never changed by lies, by semantic sophistry, by the dirtying of the word for the purposes of racism, sexism, prejudice, domination, the glorification of destruction, the curses and the praise-songs.

Interview with Progressive Magazine (1992)

 * When I was a child, we seemed to be living in a world remote from the rest of the world. But television has made a great difference to all of us. If something happens where I live, you see it tomorrow or perhaps even at the same time it is happening there. It's not "one world" in the sense that conflicts are resolved in the world. But we are more one world in that we know what is going on and are psychologically influenced by what goes on around us.

 * for country people, things are as they were. They are very remote, very poor, very dependent on the white farmers they work for. It's very difficult to organize them. There are still huge, huge problems to be tackled.

 * one of the wonderful things, in spite of all the terrible things that happen in South Africa, is the way people continue to keep their dignity. They continue to love, to laugh, to get pleasure out of life.

 * This idea that revolutionaries are martyrs who go around looking gloomy and noble, this is a romantic idea for people who've never met anybody who's gone through the experiences.

 * to me this is what fiction is about; it asks questions, and it doesn't answer.

 * The real influence of the events in the Soviet Union was to spread a lot of unease and anxiety in the African National Congress, because the Soviet Union had been the only country, really, that had stood by us all those years. The West never lifted a finger or gave a cent to the African National Congress. America, England, Germany-everyone supported the South African government against the attempts of the African National Congress to bring about change.

The House Gun (1998)

 * ...a swarthy man (Italian or jew?) with a scarred grin, and eyes, one dark-brilliant, one blurred blind, from whom radiant vitality comes impudently since he is gesticulating with a stump in place of one arm.
 * page 135

 * The purpose of life is to defend the body against the violence of pain.
 * page 13

 * That kind of act isn’t in the range of emotional control in which their son’s character was formed, or the contemporary ethic that men don’t own women. Therefore the act could not have been committed.
 * page 31

 * She would have drowned herself long ago if she had not met me. She doesn’t do that because, perhaps, I am more dreadful.
 * page 47

 * I have the feeling you’re in some way suspicious of me. You’re trying to … get me to explain, because I’m his mother. I ought to know, I should know why. And I’m his mother. I ought to know!
 * page 51

 * Whatever happens to him, whatever he has done … he can come to us. There’s nothing you cannot tell us. We’re always there for you. Always.
 * page 69

 * Duncan found her and took her to hospital. He brought her back to life. Literally. She owes her life to Duncan; or she blames him.
 * page 113

 * Discovery is not an end. Only a new mystery.
 * page 120

 * Two creatures caught in the headlights of catastrophe. Nothing between Duncan and the judge, passing sentence, but Motsamai and his confidence.
 * page 128

 * Oh dear, I’m sorry, Bra[brother] and Duncan remembers that “it was exactly the manner, the words, with which the man had announced the end of the months they had lived as lovers."
 * page 155

 * Had not been able to tell them anything that was leading him towards that Friday night when something terrible happened to him.
 * page 159

 * ...in whom self-control has been strongly established since childhood”, and that the evening of the murder was no exception.
 * page 200

 * ...cannot distinguish which Duncan is being described in truth.
 * p. 205

 * It is not in his nature. Never. I swear on my own life.
 * page 225

 * Disgust, a disintegration of everything.
 * page 211

 * I suddenly picked up the gun on the table. And then he was quiet.
 * p. 214

 * Whether or not harmful intention was premeditated, when the accused picked up the gun … was he in a state of automatism in which … there was total loss of control?
 * page 264-265

 * Bring death and life together.
 * page 294

The Pickup (2001)

 * Clustered predators round a kill. It's a small car with a young woman inside it. The battery has failed and taxis, cars, minibuses, vans, motorcycles butt and challenge one another, reproach and curse her, a traffic mob mounting its own confusion. Get going. Stupid bloody woman. Idikazana lomlungu, le! She throws up hands, palms open, in surrender. They continue to jostle and blare their impatience. She gets out of her car and faces them. (first lines)

 * That night they made love, the kind of love-making that is another country, a country of its own, not yours or mine. (p144)

 * All drifts together, and there is no onlooker; the desert is eternity. (p252)

Interview (2004)

 * To me, writing, from the very beginning and right until this day, is a voyage of discovery. Of the mystery of life. I am one of those people who have no religious faith, I am an atheist. I believe there is only this life. But this life is so incredible.

 * The truth can only be pieced together from these different bits of knowledge, these different impressions, these different experiences. Goethe said: “You close your eyes and you dip your hand into your society and you bring up a little bit of the truth.” And that is the material of your writing.

 * I’m beginning now even to see it in my own books which are written from many different points of view, very different personae, first person as a man, a child, a woman, a young person, an older person, there is the sense, looking back, that you are really writing one book all your life. Because there is this voyage of discovery of life.

 * There is more truth in my fiction than in nonfiction. I think, subconsciously, [if] I am writing an article or talking to you, there is a certain amount of self-censorship going on. But in my fiction I am writing as if I were dead. I want to say it all. I want to say everything I know.

 * Do we ever live really in the present? I don’t think so, not entirely, do you?...There are always intrusions, sometimes welcome, sometimes not, from the past.

 * Writers don’t only listen, they also look. Though, indeed, they do listen. I started being an eavesdropper when I was a child, picking up unexplained little bits of conversation and imagining what led to that, what drama in that couple’s life, or what happened between that child and the parent when I overheard: “Stop that! You’re being very naughty.” You know, what does it all mean?

The Quotable Gordimer (2014)
Yonder Mark (ed.)

 * As a writer, I'm a composite intelligence.

 * Television and newspapers show people's lives at a certain point. But novels tell you what happened after the riot, what happened when everybody went home.

 * Music has no limits of a life-span.

 * A desert is a place without expectation.

 * Death's the discarder.

 * Presence of death standing by makes a sacrament of tenuous relationships.

Quotes about Nadine Gordimer

 * I will always be grateful for the presence in the world of Nadine Gordimer, who has delivered in literature a South Africa most of us could not have known without her.
 * Gail Caldwell used as blurb for Living in Hope and History (1999)

 * As a writer and as a human being, Nadine Gordimer responded with exemplary courage and creative energy to the great challenge of her times, the system of apartheid unjustly and heartlessly imposed on the South African people. Looking to the great realist novelists of the 19th century as models, she produced a body of work in which the South Africa of the late 20th century is indelibly recorded for all time.
 * JM Coetzee from here (2014)

 * Nadine Gordimer helped me see how fiction writing can illuminate reality
 * Aminatta Forna, 2013 article, referring to the essay "Witness: the Inward Testimony"

 * Because I have known so many different writers I have often thought about what generosity means in a writer. Sometimes, as with other people you meet, you can tell about a writer at once. Though I only met her on one occasion I knew immediately that Nadine Gordimer was an enormously likeable, generous and admirable person, and that is what I felt over many years reading her work.
 * Natalia Ginzburg Interview (1992)

 * Nadine Gordimer's work is endowed with an emotional genius so palpable one experiences it like a finger pressing steadily upon the prose.
 * Vivian Gornick in Village Voice, used as blurb for Burger's Daughter

 * The South African Jewish author Nadine Gordimer, who died on Sunday, July 13, at age 90, expressed an even-handed humanism throughout her literary career. This is far from the case for every winner of the Nobel Prize for Literature, which Gordimer was accorded in 1991. Her scrupulous sense of fairness, which motivated her to oppose apartheid in her native land, also led her in 2008 to resist strident calls to boycott a Jerusalem writers’ conference. Instead, Gordimer accepted the invitation from Mishkenot Sha’ananim, determined to meet with Palestinians and Israelis because the literary festival was meant to “assert vitally that whatever violent, terrible, bitter and urgent chasms of conflict lie between peoples, the only solutions for peace and justice exist and must begin with both sides talking to one another…I shall do my utmost to uphold the principles and practice I have held, and still hold, at home in our country.”
 * Benjamin Ivry, "The Jewish Life and Times of Nadine Gordimer" in The Forward (2014)

 * In the course of an impressive four-decade-long career, the Nobel laureate Nadine Gordimer has mapped and remapped the spiritual and psychological landscape of South Africa.
 * Michiko Kakutani used as blurb for Living in Hope and History (1999)

 * In South Africa, Joe Slovo, Ruth First, Albie Sachs, Nadine Gordimer, Abie Nathan, and Helen Suzman are only among the most famous of the many Jews who joined the fight to bring down apartheid.
 * Melanie Kaye/Kantrowitz The Colors of Jews: Racial Politics and Radical Diasporism (2007)

 * If ever a writer had a grasp of the umbilical connection between individual experience and historical possibility, it's Nadine Gordimer. The miracle of the Nobel prize is not only that someone got it who deserved it, but that the writer of our century who portrays most insistently how people wrestle with, resist and create political change was rewarded for her vision. An existentialist with an emphasis on both political commitment and efficacy, Gordimer is one of the few writers to depict the activist life. No surprise then to find her quoting Camus: "It is from the moment when I shall no longer be more than a writer that I shall cease to write." So far it's not a problem. A leftist publicly critical of communism since the early eighties, she named the challenge "to love truth enough, to pick up the blood-dirtied, shamed cause of the left, and attempt to recreate it in accordance with what it was meant to be, not what sixty-five years of human power-perversion have made of it." Comparisons with Doris Lessing, that other vast-minded leftist white woman writer from Southern Africa (Zimbabwe, formerly Rhodesia), seem inevitable; but Lessing left Africa and political vision. Gordimer stayed...Typical Gordimer to come out with the word, and with the truth of the character's fleeting but not trivial dilemma; typical to mix farts with colonialism. Nothing is off limits, but she's no cynic. A fierce moralist who insists on change, Gordimer summons us to our best selves: "There is no forgetting how we could live if only we could find the way. We must continue to be tormented by the ideal."
 * Melanie Kaye/Kantrowitz Review of Jump and Other Stories (1991) in the Women's Review of Books (December, 1991) and The Issue is Power: Essays on Women, Jews, Violence and Resistance (1992)

 * Nadine Gordimer writes about black people with such astounding sensibilities and sensitivity-not patronizing, not romantic, just real. And Eudora Welty does the same thing. Lillian Hellman has done it. Now, we might categorize these women as geniuses of a certain sort, but if they can write about it, it means that it is possible. They didn't say, "Oh, my God, I can't write about black people"; it didn't stop them. There are white people who do respond that way though, assuming there's some huge barrier. But if you can relate to Beowolf and Jesus Christ when you read about them, it shouldn't be so difficult to relate to black literature.
 * 1980 interview in Conversations with Toni Morrison edited by Danille K. Taylor-Guthrie (1994)

 * (whom of those you have read recently have you found impressive?) AO: The South Africans: Nadine Gordimer, J. M. Coetzee, and André Brink.
 * Amos Oz 1986 interview in We Are All Close: Conversations with Israeli Writers by Haim Chertok (1989)

 * "No one knows where the end of suffering will begin," writes Nadine Gordimer about the 1976 Soweto schoolchildren's uprising in her novel Burger's Daughter.
 * Adrienne Rich Arts of the Possible (2001)

 * Politics, both large and small-scale, was Nadine's subject. Speaking the truth was her passion. She wrote about injustices not only in the bad old days, but in the new. She was a model of what an engaged writer can achieve, and that's what makes her my hero.
 * Gillian Slovo from here (2014)

 * She remained true to her art but she also knew that the politics of struggle gave energy to her art; she was born on the other side of the colour line, but she built bridges across it. Speaking truth to power was the real power of her art. She may have passed on, but her 90 years among us were a blessing. Her presence and energy are forever alive in my memory. She remains a kindred spirit for, beyond the writing and activism, she was an unwavering supporter of writing in African languages. The quantity and quality of her literary output – from short stories and novels to essays – earned her many awards but, in the end, the biggest award for her was the affection and the respect she got from people of all races in South Africa and across the globe. Her written words will forever be an integral part of the collective memory of the world.
 * Ngugi Wa Thiong’o "Nadine Gordimer: Farewell to a great spirit" (2014)

 * Once Jews no longer obeyed the imperatives of their religion, they were virtually obliged to create new forms of identity, turning accommodation from means to end. Literature was a proving ground for the reinvention of the self. One-tenth of the Nobel Prize winners for literature in the twentieth century were born Jews, but only two of them-Shmuel Yosef Agnon (1966) and Isaac Bashevis Singer (1978)-wrote in a Jewish language and only about half thought of themselves as Jews. Paul Heyse (1910), Nellie Sachs (1966), and Elias Canetti (1981) wrote in German; Henri Bergson (1927) in French; Boris Pasternak (1958) and Joseph Brodsky (1987) in Russian; and Saul Bellow (1976) and Nadine Gordimer (1991) in English.
 * Ruth Wisse The Modern Jewish Canon (2000)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

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User talk:Macaddct1984

When you move pages from wikipedia, please follow the guidelines in Help:Transwiki. Thanks ~ MosheZadka (Talk) 10:36, 4 November 2005 (UTC)

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Talk:Parenting

Unsourced

 * The most important thing that parents can teach their children is how to get along without them.
 * Frank A. Clark

 * I don't know, maybe I shouldn't have done this. First thing, I took him home and dangled him over the balcony.
 * David Letterman, announcing to the public that he was the proud father of Harry Letterman, in reference to an incident by Michael Jackson, CBSNews.com

 * Everybody was a baby once, Arthur. Oh, sure, maybe not today, or even yesterday. But once. Babies, chum: tiny, dimpled, fleshy mirrors of our us-ness, that we parents hurl into the future, like leathery footballs of hope. And you've got to get a good spiral on that baby, or evil will make an interception.
 * The Tick

 * Children behave as well as they are treated.
 * Jan Hunt Natural Child Project

 * A Child is no more than a puppet. You can only pull its strings.
 * Blair Curcie

 * Parenting is the science about the art of childrearing.
 * Simon Soloveychik

 * Each morning I call for the best in me: “I am sent a child. He is a dear guest.  I thank him for his existence.  He is called to this life as am I, and this unites us – we are people; we are living.  He is the same as I am.  He is a man, not a future man, but a man today, and therefore he is different from any other people.  I accept him as I accept another man.  I accept my child… I accept him and protect his childhood.  And I understand, tolerate, accept and forgive him.  I don’t force him.  I don’t humiliate him by my strength because I love him.  I love him and thank him for who he is and for that I can love him, and thus, I elevate in my own spirit.
 * Simon Soloveychik

 * Any child can tell you that the sole purpose of a middle name is so he can tell when he's really in trouble.
 * Dennis Fakes.

title: Talk:Parenting


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Talk:Information

The following person had no wp or wq page, so the quote was removed from the article. ~ MosheZadka (Talk) 10:58, 4 November 2005 (UTC)

 * "In today's mass-media society it is crucial that reliable information is available to anyone, from anywhere, at any time. However, keeping the information's integrity from corruption will be the greates challenge in modern history." ~ Gustavo Zaera

Unsourced

 * Information is the currency of democracy.
 * Thomas Jefferson

 * Media manipulation in the U.S. today is more efficient than it was in Nazi Germany, because here we have the pretense that we are getting all the information we want. That misconception prevents people from even looking for the truth.
 * Mark Crispin Miller

 * I find that the great part of the information I have was acquired by looking up something and finding something else on the way.
 * Franklin P. Adams

 * Information is power. But it is what you do with it that either makes you great or diminishes you.
 * Anonymous

 * If you don’t know what you’re looking at, how do you find out what it is? If you can’t find out what it is, how do you know what you’re looking at?
 * Thiddlededum & Twiddlededee

 * To know all things is not permitted.
 * Horace

 * The obligation to endure gives us the right to know.
 * Jean Rostand

title: Talk:Information


text:
Mark Crispin Miller

Mark Crispin Miller is a journalist, media critic, and professor of media studies at, where he directs the Project on Media Ownership (PrOMO).

Quotes

 * Media manipulation in the U.S. today is more efficient than it was in Nazi Germany, because here we have the pretense that we are getting all the information we want. That misconception prevents people from even looking for the truth.
 * Attributed to Miller in: Michael A. Kirchubel (2009). Vile Acts of Evil - Volume 1 - Banking in America. p. 224

title: Mark Crispin Miller


text:
Michelle Pfeiffer

Michelle Marie Pfeiffer (born April 29, 1958) is an American actress and singer.

Quotes

 * Even from the beginning, when I was doing junk television, I still had this focus. I knew I wasn't going to be doing that forever, that I wasn't going to be like that...
 * Vanity Fair (1989)

 * I act for free, but I demand a huge salary as compensation for all the annoyance of being a public personality. In that sense, I earn every dime I make.
 * Esquire (1990)

 * You know, I look like a duck. I just do. And I'm not the only person who thinks that. It's the way my mouth sort of curls up or my nose tilts up. I should have played Howard the Duck.
 * People magazine (1990)

 * I don't like talking about the characters I do in film, ever. There's no deep, dark meaning. It's just an idea. It's just an idea.
 * Vogue (1991)

 * I had a big mouth, and I used to mouth off to my mother all the time. But I'd make sure my father wasn't in earshot, because he'd let me have it. I was very strong-willed, very stubborn, and fairly dramatic, I guess. I remember my mother calling me a drama queen when I would be carrying on: 'Here's my little actress.' And I was a real tomboy. I wasn't a terribly feminine little girl. I never thought I was attractive to boys; I remember when the first boy liked me, I couldn't believe it. All the little girls with ringlets and crinoline dresses were the ones the boys liked. I was always beating them up — why should they like me? I was always the biggest girl in the class, and if somebody wanted someone beaten up, they'd come and get me. I was the school bully. No wonder I played Catwoman. It all comes full circle.
 * Vanity Fair (1993)

 * The description of the character is that Frankie is an attractive woman if she'd just put a little effort into how she looks. So that's basically the way I played her. I consider myself an attractive woman, and I can be not-so-great-looking if I don't put effort into how I look. But more importantly, the core of the character was someone who had given up on love, and that could be any age, any size, any form of beauty. That could be anybody.
 * In response to criticism that she was too beautiful to play a lonely waitress in Frankie and Johnny, quoted in Pfeiffer: Beyond the Age of Innocence by Thompson, p. 223

 * I used to stay up very late at night, much later than I probably should have for such a youngster, and I used to watch very old black-and-white movies with, you know, Bette Davis and Joan Crawford, but I remember watching them thinking 'I could do that'... Even though I wasn't inclined at all to actually become an actress. I mean, that wasn't something that was... in the stars for me, no pun intended.
 * Interview on Inside the Actors Studio (2007)

 * So I do the test, and we do this scene, and it's the scene at the end where I throw dishes, and so I threw some dishes... and 'Cut!'... And I look around, and there's blood everywhere, because I broke a plate or something, and they're all checking me — 'Oh my God, she cut herself' — and couldn't find any cut, and then I look, and I realise. I see Al's hand is bleeding. And I cut Al Pacino, in my screen test. I think then he liked me. I think that was actually the turning point.
 * On auditioning for Scarface, from Inside the Actors Studio (2007)

 * I don't like improvisation. I really don't. I'm the only one that will admit it. Because I think people think you're not a real actor if you don't like to improv. I don't like it.
 * Inside the Actors Studio (2007)

 * It's usually just awkward. It's not terribly romantic or steamy. Sometimes people's wives show up — "Hey, how you doing?"… I had a wedding scene with someone once, and the girlfriend showed up in a white dress...
 * On love scenes with male co-stars, from Inside the Actors Studio (2007)

 * That would have to be the F-word. Do you want me to say it? It's so descriptive, it can be used in so many ways — it can be used lovingly, it can be used in the most hateful — it's just very versatile... and you know, it's just, sometimes no other word will do.
 * In response to the question, "What is your favourite curse word?" from Inside the Actors Studio (2007)

 * I always look at it as — it's like a treasure map, and each little detail in it, you sort of look at it for information and it points you in the right direction, to tell you where you need to go. You start out with a few choices, obviously — I need to learn the clarinet or I need to learn the cello, or I need to learn how to stay underwater without panicking — but it is like painting in a way, that at a certain point, the painting begins to tell you what to do. And with acting, it's the same — with acting in film, anyway — at a certain point then, what you've already put on screen begins to dictate to you where you need to go, and then it just starts to create itself in a way. And what I try to do is find a strand of myself, as different as I might feel the character is from me, and as removed as it is, I always try to find that one part of me. And then you kind of build on to that, because it's a way to keep you connected. And you never want to lose that connection. There's always some sort of parallel that's going on in my own life, and so you can use it to, you know, bring closure, perhaps, to certain things that you haven't. A healing, a reconnection. And I believe in that. I believe in that.
 * In response to the question, "How do you approach your roles?" from Inside the Actors Studio (2007)

 * Eating a vegan diet — it’s just so much healthier — and you avoid a lot of toxins that could age your skin and your body. I really noticed a difference in my skin not too long after switching to fully vegan. … The older I’ve gotten, the more it’s occurred to me that I’m doing it in order to live longer, though the vanity component will always be there. … I just told myself one day that I’m going to do it and I’m going to give myself eight weeks. And that I’m not going to commit on this for a lifetime because it’s psychologically huge for people to wrap their minds around it. And I’m just going to see how I feel, I’m going to test my blood again and see if there’s anything. Giving it that long you sort of get over the fact of feeling how big and difficult it is at the beginning. And if you really give yourself long enough to start feeling differently and sort of see the benefits then it will be great.
 * "Michelle Pfeiffer’s Big Secret", interview with Urbanette (February 2016)

Quotes about Pfeiffer

 * 'She's the blonde in Scarface,' they say to me about Michelle Pfeiffer. Now her I know. She made this year's great movie entrance, descending, back to camera, in the glass elevator of a drug czar's Florida mansion, wearing a green satin evening dress that seemed about to fall off her. Rarely in a movie have I seen an actress so perfectly groomed, so coolly elegant. There hasn't been a platinum-blonde star for a long time, and I waited, fascinated, to meet her. She is on the verge of stardom. In the parlance of the industry, she is hot. She is appearing in one hot movie, has another coming out, and others await only her availability to begin shooting. 'Hello,' she said, when she arrived. 'Hello,' I replied, trying to zero in on the unfamiliar face... and then it registered: Michelle Pfeiffer is, alas, no longer blonde. She became blonde for the role. Nor is she a fashion plate. In fact, she has absolutely no interest in fashion or chic. Like Garbo, who cared nothing for such trappings either, she took on the accoutrements that went along with the part, so convincingly that I had assumed the end product was the starting point — the reason she had been cast in the first place.
 * Dominick Dunne for Vanity Fair.

 * Michelle represents the best of both worlds. She's very feminine, understated and sophisticated, yet also mysterious, confident and provocative.
 * Giorgio Armani, fashion designer.

 * I think that, more than any other "beautiful actress," Michelle has been handicapped by her appearance. She has such an overwhelming face that people have tended to cast her because of the way she looks... I have a feeling she's been in touch with her gift all along, and that she's exhibited enormous patience with those of us who tend to focus first on how gorgeous she is.
 * Jonathan Demme, director of Married to the Mob.

 * Basically, she's a character actress... I think that's a strength. She's someone who will endure because she'll find characters to play. And she happens also to be a leading-lady type, which is, I guess, glamorous. She has both... I mean, is someone doing what they should be doing? That's the question.
 * Al Pacino, co-star in Scarface and Frankie and Johnny.

 * I didn't recognize her from one film to the next. I wasn't really looking at Michelle Pfeiffer; I was looking at the character in the movie. The thing that really clinched it was Married to the Mob. She had a kind of honesty in the character, and she had just the right amount of humor. She wasn't putting down the character; she wasn't making a value judgment on the character. She really was like the people I grew up with. The characters were Italians from Long Island, and here was an actress of a different type, different background, coming in and making me believe totally. That really made me sit up and take note. And then, when Dangerous Liaisons came out, I thought, 'She's the best we have.'
 * Martin Scorsese, director of The Age of Innocence.

 * The only friend I trust not to distort or misuse what I say is Michelle Pfeiffer.
 * Cher, co-star in The Witches of Eastwick.

 * She was kind of shy, and halfway through the year, in fact, it was the end of the second semester where the other kids had been doing the debating and making the fiery speeches and stuff, Michelle hadn't volunteered very much. But then we did the Harry Truman trial, where they bring in witnesses. The players had to get some other kids to participate, so a little peer pressure. Michelle ended up being one of the victims of the bomb. She gets on the stand, and she had dressed herself up as a victim and had gauze and everything. She starts to talk, and she starts crying. You ever been in a play or something where you feel kind of uncomfortable that all of a sudden someone's doing something so emotional you don't know what to do? She does that to the class. And they're looking, and they can't figure out. What the hell is she doing? She hasn't been like this all year. It was just a stunning performance. And we thought, God, she really is a victim of the bomb. To the end of the year, we had her take on some more responsibility. But that was the first little bit of acting.
 * John Bovberg, Pfeiffer's school teacher.

 * She had to have been a couple of years out of high school when I met her in Vons (it's a clothing store now) and I was only in El Toro by chance. When I saw her at the supermarket, there was a difference. Something had happened in there. I don't know if it's because she tried some other things. She had this steely look of determination. She looked at me, and she says, 'I'm gonna be an actress.' And I remember telling her, 'Now, Michelle, a lot of people have agents and wanna be an actress and...' And, 'No, no.' She told me there was this movie with Tony Danza, The Hollywood Knights. She was just trying out for it, and she thought she might have a chance for it. I give her that look, 'Now, Michelle.' I don't know. You'll see a kid coming through that'll tell you, 'I'm going to be a doctor.' They're just hell bent, they're sure that's what they're going to do. Nothing stops them from doing it. And some kids do that. And then I get a call, 'Hey, you gonna be in your room today?' And they come back, and they've just gotten their law degree from Harvard or something. And it's usually one of those kids who has that look. And she had that look... I was a single parent, and I was ironing at two o'clock in the morning. That's when I do my ironing and catch my breath. This movie comes on, The Hollywood Knights, and I'm thinking, trying to figure out where I heard that name. And I'm watching, and then Tony Danza and his girlfriend come by. And you do a double take. I go, 'Michelle?' Well, she got the part. I couldn't believe it. I'm thinking I got a student who got a role in a movie. Good for you. I'm watching it. You know, you're kind of proud of her. And there she is. It was a little role but she was good in it.
 * John Bovberg, Pfeiffer's school teacher.

 * I showed Stephen [Frears] a couple of reels of Married when he was considering Michelle for Liaisons. And he was clearly under her spell. But maybe he hesitated for an instant. He said, 'You know, she's going to be out there with John Malkovich and Glenn Close.' And I thought but didn't say, 'They'd better watch out then.'
 * Jonathan Demme, director of Married to the Mob.

 * She was very, very particular about the visual aspects of what we were doing. After seeing the first rushes of film, she requested that her costumes be made less splendid. In fact, we reduced things. But it also had to do with the fact that it's Michelle Pfeiffer's face. She was so beautiful that they had to tone down the glories of the gowns to make her less stunning.
 * James Acheson, costume designer on Dangerous Liaisons.

 * There was a pronunciation and approach that seemed Dylan-influenced. Vowels were swallowed, word endings were given short or no shrift. When we worked, it almost became a joke with us that I was constantly reminding her to say the consonants as well as the vowels... And Michelle, must you continue to smoke two packs of cigarettes a day?... I can swear that every single note in that movie was hers. Seeing Michelle up there was like watching myself or my daughter. I was so nervous. I wanted her to be so good. I didn't want to feel as if I'd let her down.
 * Sally Stevens, vocal coach on The Fabulous Baker Boys.

 * She became a singer, and it was an extraordinary kind of example — graphic example — of what a good actor can really do, you know. She spent a lot of research time, she went around and heard singers and studied what they did. Everything from, of course, all the body language and all of that stuff — but vocally, we went in the studio and she sang a version of My Funny Valentine that, I mean... it killed me.
 * Dave Grusin, composer on The Fabulous Baker Boys.

 * A lot of times I looked into the camera and said, 'Too pretty.' We changed the lighting and hair. You know, she was hired originally in the town as a beautiful girl, but she's learned how to act. She's an actress of unlimited range. She works incredibly hard — the body language, the hair, the voice. She's not bothered by movie star stuff — whether she has a rug in her trailer or not. She doesn't care.
 * Garry Marshall, director of Frankie and Johnny.

 * Pfeiffer in particular takes the sort of glamorous yet preposterous part that generally defeats even the best actress and somehow contrives to make it credible every inch of the way.
 * Time Out on Into the Night (1985).

 * Alda's best-written character in the movie probably is Faith Healy, the sexy actress played by Pfeiffer. Her performance uses some wonderfully subtle touches, as she moves back and forth between her historical character and her distinctly more cynical modern one.
 * Chicago Sun-Times on Sweet Liberty (1986).

 * Michelle Pfeiffer has the pivotal role of the movie and perhaps of her career as Angela de Marco, the unhappy missus of Frankie (The Cucumber). Shedding her WASP identity completely, Pfeiffer becomes the Italian princess, right down to the Long Island accent. Angela is an updated suburban moll, a gum-popper with press-on nails and lots of sweaters applique'd with feathers. She looks like a caricature, but there's anguish under all that mascara... This is her second movie marriage to the mob. As the wife in Scarface, she was the Latino mobster's WASP ornament, cold, trapped and tragic. As the Cucumber's widow, she's a deft comedian instead. It's her movie, and she graces it.
 * Washington Post on Married To The Mob (1988).

 * For Pfeiffer, in a year that has seen her in varied assignments such as Married to the Mob and Tequila Sunrise, the movie is more evidence of her versatility. She is good when she is innocent and superb when she is guilty.
 * Chicago Sun-Times on Dangerous Liaisons (1988).

 * This is one of the movies they will use as a document, years from now, when they begin to trace the steps by which Pfeiffer became a great star. I cannot claim that I spotted her unique screen presence in her first movie, which, I think, was Grease 2, but certainly by the time she made Ladyhawke and Tequila Sunrise and Dangerous Liaisons and Married to the Mob, something was going on. This is the movie of her flowering — not just as a beautiful woman, but as an actress with the ability to make you care about her, to make you feel what she feels. All of those qualities are here in this movie, and so is the "Makin' Whoopee" number, which I can only praise by adding it to a short list: whatever she's doing while she performs that song isn't merely singing; it's whatever Rita Hayworth did in Gilda and Marilyn Monroe did in Some Like It Hot, and I didn't want her to stop.
 * Roger Ebert on The Fabulous Baker Boys (1989).

 * Pfeiffer gives us the whole woman. Her triumph goes beyond her facility with the Russian accent; other actresses could have done that. She's great at playing contradictions, at being tough yet yielding, cloaked yet open, direct yet oblique. What's she's playing, we suspect, is the great Russian game of hide-and-seek. But Pfeiffer gives it a personal dimension. Katya holds herself in check, but her wariness, one senses, is as much personal as it is cultural -- the result, perhaps, of her own secret wounds. It's one of the year's most full-blooded performances.
 * Washington Post on The Russia House (1990).

 * Pfeiffer's characterization of Lurene is a marvel, but by now that is only to be expected. Watching her discover new facets of her talent is one of the real pleasures of going to the movies these days... Pfeiffer has become one of those transparent actors, a performer who allows us direct access to her character's thoughts and feelings. This character is simply another in her wide-ranging gallery of vivid, complex women. She's fully alive up there on the screen: a grounded angel, tarnished, funny and exquisitely soulful, even when the movie is dead.
 * Hal Hinson on Love Field (1992).

 * Pfeiffer gives the performance of a lifetime as the outcast countess. With her hair in tight curls that accentuate her pale beauty, she seems lit from within.
 * Rolling Stone on The Age of Innocence (1993).

 * For any actress to make the transition from Catwoman to Ellen Olenska would be impressive, and that Pfeiffer succeeds here as she did in her last film is the most conclusive proof yet of her widening talents.
 * Variety on The Age of Innocence (1993).

 * This hit, that ice cold / Michelle Pfeiffer, that white gold.
 * Bruno Mars and Mark Ronson, "Uptown Funk" (November 10, 2014).

title: Michelle Pfeiffer


text:
Amelia Earhart

Amelia Mary Earhart (born 24 July 1897 - missing in western Pacific Ocean from 2 July 1937) was an American aviation pioneer and writer. Earhart was the first female aviator to fly solo across the Atlantic Ocean. She set many other records, was one of the first aviators to promote commercial air travel, wrote best-selling books about her flying experiences, and was instrumental in the formation of The Ninety-Nines, an organization for female pilots.

Quotes

 * Women must try to do things as men have tried. When they fail, their failure must be but a challenge to others.
 * Courage is the price that Life exacts for granting peace. The soul that knows it not, knows no release From little things: Knows not the livid loneliness of fear, Nor mountain heights where bitter joy can hear The sound of wings.
 * Poetry written around the time of the breaking of her "tenuous engagement" to Samuel Chapman (c. 1928), published in Amelia, My Courageous Sister : Biography of Amelia Earhart (1987) by Muriel Earhart Morrissey and Carol L. Osborne, p. 74; also in Amelia : A Life of the Aviation Legend (1999) by Donald M. Goldstein and Katherine V. Dillon, p. 38

 * How can Life grant us boon of living, compensate For dull grey ugliness and pregnant hate Unless we dare The soul's dominion? Each time we make a choice, we pay With courage to behold the restless day, And count it fair.
 * Poetry written around the time of breaking of her "tenuous engagement" to Samuel Chapman (c. 1928), published in Amelia, My Courageous Sister : Biography of Amelia Earhart (1987) by Muriel Earhart Morrissey and Carol L. Osborne, p. 74; also in Amelia: A Life of the Aviation Legend (1999) by Donald M. Goldstein and Katherine V. Dillon, p. 38

 * Ours is the commencement of a flying age, and I am happy to have popped into existence at a period so interesting.
 * 20 Hrs., 40 Min. [borrowable] (1928), p. 180

 * I understood. I was a girl-a "nervous lady." I might jump out. There had to be somebody on hand to grab my ankle as I went over. It was no use to explain I had seen aeroplanes before and wasn't excitable. I was not to be permitted to go alone in the front cockpit.
 * On her first experience flying, and the skepticism of others. '20 Hrs., 40 Min.'' (1928), p. 47

 * In soloing—as in other activities—it is far easier to start something than it is to finish it. Almost every beginner hops off with a whoop of joy, though he is likely to end his flight with something akin to the D.T.'s.
 * 20 Hrs., 40 Min. (1928), p. 16

 * There is so much that must be done in a civilized barbarism like war.
 * 20 Hrs., 40 Min. (1928), p. 34

 * As I look back on the flight I think two questions have been asked me most frequently. First: Was I afraid? Secondly: What did I wear?
 * 20 Hrs., 40 Min. (1928), p. 110

 * I want you to understand I shall not hold you to any midaevil code of faithfulness to me nor shall I consider myself bound to you similarly.
 * Note to George P. Putnam, on the date of their wedding (7 February 1931), as quoted in The Sound of Wings (1989) by Mary S. Lovell

 * The time to worry is three months before a flight. Decide then whether or not the goal is worth the risks involved. If it is, stop worrying. To worry is to add another hazard. It retards reactions, makes one unfit. . . . Hamlet would have been a bad aviator. He worried too much.
 * Original forward for the writings in Last Flight, as quoted in Lost Star : The Search for Amelia Earhart (1995) by Randall Brink, p. 85

 * The more one does and sees and feels, the more one is able to do, and the more genuine may be one's appreciation of fundamental things like home, and love, and understanding companionship.
 * As quoted in Soaring Wings : A Biography of Amelia Earhart (1939) by George Palmer Putnam, p. 83
 * Cited as Amelia Earhart, "My Husband," Redbook magazine (Sept. 1933) in Mary S. Lovell, The Sound of Wings (1989), p. 101.

 * The most difficult thing is the decision to act. The rest is merely tenacity. The fears are paper tigers. You can do anything you decide to do. You can act to change and control your life and the procedure. The process is its own reward.
 * The Official Website of Amelia Earhart - Quotes

Last Flight (1937)

 * Notes made in preparations for her last flight, edited by George P. Putnam,

 * Anticipation, I suppose, sometimes exceeds realization.
 * p. 50

 * Preparation, I have often said, is rightly two-thirds of any venture.
 * p. 51

 * In my life I had come to realize that when things were going very well indeed it was just the time to anticipate trouble. And, conversely, I learned from pleasant experience that at the most despairing crisis, when all looked sour beyond words, some delightful "break" was apt to lurk just around the corner.
 * p. 70

 * Please know that I am aware of the hazards. I want to do it because I want to do it. Women must try to do things as men have tried. When they fail, their failure must be a challenge to others.
 * Letter to her husband George P. Putnam, on the eve of her last flight

Disputed

 * Never do things others can do and will do, if there are things others cannot do or will not do.
 * As quoted in Have Fun with American Heroes : Activities, Projects, and Fascinating Facts (2005) by David C. King, p. 82; this is also attributed to Dawson Trotman in Through Her Eyes : Life and Ministry of Women in the Muslim World (2005) by Marti Smith, p. 116

 * Never interrupt someone doing something you said couldn't be done.
 * As quoted in "She Drew Horses..." (2006) by Kelli Swan, p. 42

Misattributed

 * Better do a good deed near at home than go far away to burn incense.
 * Chinese proverb, as quoted in The Homiletic Review, Vol. 90 (1925), p. 363

 * No kind action ever stops with itself. One kind action leads to another. Good example is followed. A single act of kindness throws out roots in all directions, and the roots spring up and make new trees. The greatest work that kindness does to others is that it makes them kind themselves.
 * Originally Frederick William Faber, sermon "On Kindness in General", found in Spiritual Conferences, a collection of his oratory, ca. 1860

title: Amelia Earhart


text:
Howard Carter

Howard Carter (May 9, 1874 – March 2, 1939) was an English archaeologist and Egyptologist who became world famous after discovering the intact tomb of the 18th Dynasty Pharaoh, Tutankhamun (colloquially known as "King Tut" and "the boy king") in November 1922.

Quotes

 * Here before us was sufficient evidence to show that it really was an entrance to a tomb, and by the seals, to all outward appearances that it was intact.
 * Diary, 5 November 1922.

 * Though I was satisfied that I was on the verge of perhaps a magnificent find, probably one of the missing tombs that I had been seeking for many years, I was much puzzled by the smallness of the opening in comparison with those of other royal tombs in the valley.
 * Diary, 5 November 1922.

 * The news of the discovery spread fast all over the country, and inquisitive enquiries mingled with congratulations from this moment became the daily programme.
 * Diary, 7 November 1922.

 * As we cleared the passage we found mixed with the rubble broken potsherds, jar seals, and numerous fragments of small objects; water skins lying on the floor together with alabaster jars, whole and broken, and coloured pottery vases; all pertaining to some disturbed burial, but telling us nothing to whom they belonged further than by their type which was of the late XVIIIth Dyn. These were disturbing elements as they pointed towards plundering.
 * Diary, 25 November 1922.

 * With trembling hands, I made a tiny breach in the upper left hand corner... widening the hole a little, I inserted the candle and peered in... at first I could see nothing, the hot air escaping from the chamber causing the candle to flicker. Presently, details of the room emerged slowly from the mist, strange animals, statues and gold – everywhere the glint of gold. For the moment – an eternity it must have seemed to the others standing by – I was struck dumb with amazement, and when Lord Carnarvon, unable to stand in suspense any longer, inquired anxiously "Can you see anything?", it was all I could do to get out the words "Yes, wonderful things".
 * Tutankhamen and the Glint of Gold
 * Diary, 26 November 1922.

title: Howard Carter


text:
Apisai Tora

Apisai Mohammad Tora (born 1934) is a controversial Fijian politician, who was imprisoned in 2005 for offences related to the coup that overthrew the elected government in 2000.

Senate speech, 24 August 2004 (excerpts)
Reported in the Fiji Times, 25 August 2004.

 * "There is such a thing as freedom of speech in this country. It is a constitutional right. Too often these days when people speak out on certain matters there are attempts to intimidate or muzzle them and breach their rights by throwing allegations of racism or making hate speeches."

 * "Even our new Commissioner of Police Andrew Hughes went so far as to say that those involved in these kinds of things are called domestic terrorists. Someone should remind Mr Hughes, who is an Australian, what his own people did to our counterparts."

 * "They rounded the Aborigines up and … committed wholesale murder and genocide to a whole group of people and they destroyed their culture".

 * "People have got to be careful coming to Fiji and say Fijian people or taukei be careful of what you are doing you are trespassing, you are committing domestic terrorism. I would like to warn Mr Hughes to be careful. To do his own work properly and not to tread where angels fear to tread."

 * "(The Constitution is) nothing less than a fraud on the Fijian people".

title: Apisai Tora


text:
Carl Van Doren

Carl Clinton Van Doren (September 10, 1885 – July 18, 1950) was a U.S. critic, historian, and Pulitzer Prize-winning biographer.

Quotes

 * Neither creator nor critic can make himself universal by barely taking thought about it. He is what he lives. The measure of the creator is the amount of life he puts Into his work. The measure of the critic is the amount of life he finds there.
 * The Roving Critic (1923), p. 20

 * The most familiar quotations are the most likely to be misquoted. Some misquotations are still variable, some have settled down to false versions that have obscured the true ones. They have passed over from literature into speech.
 * As quoted in The Oxford Dictionary of Quotations (1941) by Alice Mary Smyth, p. vii

 * A classic is a book that doesn't have to be written again.
 * As quoted in "Bermudian" (November 1950) by James Thurber

 * The race of man, while sheep in credulity, are wolves for conformity.
 * As quoted in Building A Speech (1990) by Sheldon Metcalfe

 * Yes, it's hard to write. But it's harder not to.
 * As quoted in Writing with Authors Kids Love : Writing Exercises by Authors of Children's Literature'' (1998) by Kathryn L. Johnson, p. 2

Why I am Not a Believer (1926)

 * Full text online
 * Page numbers here from the reprint of the essay in Christopher Hitchens (ed.), The Portable Atheist

 * There is no trustworthy evidence as to a god's absolute existence.
 * p. 139

 * Whoever says he knows that immortality is a fact is merely hoping that it is.
 * p. 140

 * I perceive that the race of men, while sheep in credulity, are wolves for conformity.
 * p. 141

 * Though he knows that knowledge is imperfect, he trusts it alone. If he takes, therefore, the less delight in metaphysics, he takes the more in physics.
 * p. 142

The Great Rehearsal (1948)

 * Full text online

 * The most momentous chapter in American history is the story of the making and ratifying of the Constitution of the United States. The Constitution has so long been rooted so deeply in American life — or American life rooted so deeply in it — that the drama of its origins is often overlooked. Even historical novelists, who hunt everywhere for memorable events to celebrate, have hardly touched the event without which there would have been a United States very different from the one that now exists; or might have been no United States at all. The prevailing conceptions of those origins have varied with the times. In the early days of the Republic it was held, by devout friends of the Constitution, that its makers had received it somewhat as Moses received the Tables of the Law on Sinai. During the years of conflict which led to the Civil War the Constitution was regarded, by one party or the other, as the rule of order or the misrule of tyranny. In still later generations the Federal Convention of 1787 has been accused of evolving a scheme for the support of special economic interests, or even a conspiracy for depriving the majority of the people of their liberties. Opinion has swung back and forth, while the Constitution itself has grown into a strong yet flexible organism, generally, if now and then slowly, responsive to the national circumstances and necessities.
 * Preface

 * The parallel between 1787 and 1948 is naturally not exact. Even if it were, 1787 would have no authority over 1948. Each age must make or keep its own government and determine its own future. Nor do those citizens of the world who In 1948 desire to see a federal world government created assume that the process would have to follow the example of the United States of 1787 in the details of the new government. The Federal Convention did not follow any single example. Neither should a General Conference of the United Nations be expected to.
 * Preface

 * The opponents of the Constitution declared that the larger states would disturb the United States by their powerful contentions; the supporters replied that those contentions were sure to disturb the continent if the larger states were not united, much less sure to do it if they were united and so could be expected to arrive at peaceable agreements. The opponents of the Constitution were convinced that the people of the individual states could be protected only by their states armed with full, or at least substantial sovereignty. The supporters of the Constitution knew that conflicting sovereignties had been the causes of most wars, in which the people have regularly suffered. The opponents of the Constitution in 1787 could talk only of the difficulties of forming a new government The supporters of the Constitution aware of the dangers facing the Confederation, demanded that a new government be attempted, no matter what the difficulties.
 * Preface

 * It is obvious that no difficulty in the way of world government can match the danger of a world without it.
 * Preface

title: Carl Van Doren


text:
Jamie Reed

Jamieson Ronald Reed (born March 14, 1973) is the Labour Member of Parliament for the UK constituency of Copeland, elected in the 2005 general election, and served until his resignation in 2017.

Quotes

 * As the first Jedi Member of this place, I look forward to the protection under the law that will be provided to me by the Bill
 * The force is with Jamie (Published on 30/06/2005) by Andrea Thompson at newsandstar.co.uk

title: Jamie Reed


text:
User talk:136.242.24.153

Welcome to Wikiquote, the free compendium of quotations! You don't have to log in to read or edit articles on Wikiquote, but creating an account is quick, free and non-intrusive, requires you to provide no personal information, and gives you many benefits, including:
 * The use of a username of your choice
 * The ability to view all your contributions via a "My contributions" link
 * Your own user page
 * Your own talk page which, if you choose, also allows users to send you messages without knowing your e-mail address
 * The use of your own personal watchlist to which you can add articles that interest you
 * The ability to rename pages
 * The ability to customize the appearance and behavior of the website
 * The eligibility to become an administrator
 * The right to be heard in formal votes and elections, and on pages like votes for deletion

Click here to create an account. --Aphaia 17:35, 4 November 2005 (UTC)

title: User talk:136.242.24.153


text:
Hans Ji Maharaj

Sri Hans ji Maharaj (November 8, 1900 – July 19, 1966) was a guru from Uttarakhand, India. He was considered a satguru or "perfect master" by his followers and founded the Divine Light Mission in 1960. He is the father of Prem Rawat, widely known as Maharaji.

Quotes

 * "Religion does not mean to surrender to dogmas and religious scriptures or conformity to rituals. But my religion constitutes an abiding faith in the perfect values of truth and the ceaseless attempt to realise them in the inner most part of our nature."

 * "God has created the human frame for the express purpose of giving man the opportunity of realizing the Divinity."

 * "Only he is the true teacher [Satguru] who can show what are the religious and social obligations [dharma], show God to you, and give you the Knowledge of the holy name [sat nam]. And he who can give you the Knowledge of this dharma is completely wise. Satguru is the one who has the perfect wisdom. And other than the Satguru no one has the perfect wisdom. Oh! People of the world! Only a perfect avatar with the sixty-four virtues [kala] can reveal this Knowledge." (Bombay, March 1966)
 * Alternative translation: "Lord Rama was an incarnation of God who possessed 14 types of divine power. Lord Krishna was an incarnation of God who possessed 26 types of divine power. But I am fully perfect and the master of all the 64 divine powers."
 * This alternative translation, very different from the original Hindi, appeared in a book named Satgurudev (1970). It has been used by several scholars (Messer, Glock and Bellah; Reender Kranenborg) to position Hans Ji Maharaj as claiming to be more powerful than Krishna.

 * "God is both with form and without form. Butter still in milk can be said to be without form, and when it is churned out, with form. In the same way, the divine Light which is self-existent in all being is God without physique, whereas the Satguru of the time, or the realised soul, is God with the physique. Submergence of the mind into the divine light; obedience and service to Satguru together with supreme love for Him; consecration of body, mind and all activities to Him; together with a great anguish for the slightest forgetfulness of Him, constitute sublime devotion. Hence perpetual peace, eternal bliss and salvation within the lifetime are ensured. There is absolutely no other way to achieve them. This is universally substantiated".
 * Yogiraj Param Sant Satgurudev Shri Hans Ji Maharaj, Prem Nagar, India, June 1961, quoted in the Bantam paperback: "Who is Guru Maharaj Ji?" pp 283-4.

title: Hans Ji Maharaj


text:
Talk:Burning Man

The Buffy quote should be added here. :) ~ MosheZadka (Talk) 20:17, 4 November 2005 (UTC)

title: Talk:Burning Man


text:
Oliver Wendell Holmes

Oliver Wendell Holmes was the name of two prominent men, father and son:
 * Oliver Wendell Holmes Sr. - poet and essayist
 * Oliver Wendell Holmes Jr. - justice of the Supreme Court of the United States

title: Oliver Wendell Holmes


text:
Max Euwe

Machgielis (Max) Euwe (last name is pronounced /ø:wə/) (May 20, 1901 – November 26, 1981) was a Dutch chess player. He was the fifth player to become World Chess Champion (1935–1937).

Quotes

 * Alekhine is a poet who creates a work of art out of something that would hardly inspire another man to send home a picture post card.
 * In: Fred Reinfeld (1956) Why You Lose at Chess, p. 180

 * I honestly feel very humble when I study Capablanca's games.
 * In: David Hooper, Kenneth Whyld (1996) The Oxford companion to chess, p. 69

 * Strategy requires thought, tactics require observation.

title: Max Euwe