text:
The Jerk

The Jerk is a 1979 film about an imbecilic white man who was adopted by a black family in Mississippi. At his 18th birthday, his family reveals to him he's really an adopted white man. He therefore decides to discover the outside world by traveling to St. Louis. During his trip, everyone exploits his naivety, but eventually a simple invention brings him a fortune.
 * Directed by Carl Reiner. Story by Steve Martin & Carl Gottlieb. Screenplay by Steve Martin, Carl Gottlieb & Michael Elias

He was a poor black sharecropper's son who never dreamed he was adopted. taglines

Navin R. Johnson

 * Huh? I am not a bum. I'm a jerk. I once had wealth, power, and the love of a beautiful woman. Now I only have two things: my friends and uh, my thermos. Huh? My story? Okay. It was never easy for me. I was born a poor black child. I remember the days, sittin' on the porch with my family, singin' and dancin' down in Mississippi.

 * For one dollar I'll guess your weight, your height, or your sex.

 * First I get my name in the phone book and now I'm on your ass. You know, I'll bet more people see that than the phone book.

 * Marie, are you awake? Good. You look so beautiful and peaceful, you almost look dead. I'm glad because there is something that has always been very difficult for me to say. I slit the sheet, the sheet I slit, and on the slitted sheet I sit. I've never been relaxed enough around anyone to be able to say that. You give me confidence in myself. I know we've only known each other four weeks and three days, but to me it seems like nine weeks and five days. The first day seemed like a week and the second day seemed like five days and the third day seemed like a week again and the fourth day seemed like eight days and the fifth day you went to see your mother and that seemed just like a day and then you came back and later on the sixth day, in the evening, when we saw each other, that started seeming like two days, so in the evening it seemed like two days spilling over into the next day and that started seeming like four days, so at the end of the sixth day on into the seventh day, it seemed like a total of five days. And the sixth day seemed like a week and a half. I have it written down, but I can show it to you tomorrow if you want to see it. Anyway, I've decided that tomorrow, when the time is right, I'm going to ask you to marry me, if that's okay with you. Just don't say anything. You've made me very happy.

 * [singing] I'm picking out a Thermos for you! / Not an ordinary Thermos for you, / But the extra best Thermos that you can buy, / with vinyl and stripes and a cup built right in! I'm picking out a Thermos for you, / And maybe a barometer too. / And what else can I buy so on me you'll rely? / A rear-end thermometer too!

 * Good Lord! I've heard about this: cat juggling!

 * Well, I'm gonna go then, and I don't need any of this! I don't need this stuff, and I don't need you! I don't need anything, except this. [picks up an ashtray] An ashtray, and that's the only thing I need, is this! I don't need this or this! Just this ashtray, and this paddle game. The ashtray and the paddle game and that's all I need! And this remote control. The ashtray, the paddle game, and the remote control, and that's all I need. And these matches. The ashtray, and these matches, and the remote control and the paddle ball. And this lamp. The ashtray, this paddle game and the remote control and the lamp and that's all I need! And that's all I need too. I don't need one other thing, not one— I need this. [picks up chair] The paddle game, and the chair, and the remote control, and the matches for sure. Well what are you looking at? What do you think I am, some kind of a jerk or something? And this. [picks up magazine] The ashtray, the remote control, the paddle game, this magazine and the chair. [walking outside] And I don't need one other thing, except my dog. [Shithead growls at him] Well, I don't need my dog.

Other

 * Hotel Guest: Don't call the dog "Lifesaver". Call him "Shithead".

 * Madman: Die, you random son of a bitch. Die, gas pumper!

Dialogue

 * Mother: Navin, it's your birthday, and it's time you knew. You're not our natural-born child.
 * Navin R. Johnson: You mean I'm going to stay this color?
 * Mother: I'd love you if you were the color of a baboon's ass.

 * Mother: And remember: the Lord loves a working man!
 * Navin R. Johnson: The Lord loves a working man.
 * Father: And son, don't never ever trust whitey.
 * Navin: Don't trust whitey. The Lord loves a working man. Don't trust whitey.
 * Mother: Oh, baby.
 * Navin: Daddy. Pierre. Come here. Don't you forget to grow up now.
 * Elvira Johnson: Send me a picture, a picture! And I'll call you later! Don't forget, Navie!
 * Father: Okay, okay. Let the boy go.
 * Elvira: Bye.
 * Father: We got work to do.
 * Mother: And I hope you find whatever it is you're looking for.
 * Navin: I will, Ma. I know it's out there.
 * Taj: It's out there all right, and if you catch it see a doctor and get rid of it.
 * Navin: See a doctor and get rid of it.
 * Taj: Good luck.
 * Navin: The Lord loves a working man. Don't trust whitey. See a doctor and get rid of it.

 * Harry Hartounian: Boy, get to work in there!
 * Navin R. Johnson: But sir, I don't even work here.
 * Harry: Not even for a dollar ten an hour?

 * Harry Hartounian: Boy, I wish I could get that excited about nothing.
 * Navin R. Johnson: Nothing? Are you kidding? Page 73: Johnson, Navin R.! I'm somebody now! Millions of people look at this book every day! This is the kind of spontaneous publicity — your name in print — that makes people. I'm in print! Things are going to start happening to me now.
 * Madman: [thumbing through phone book at home] Johnson, Navin R. Sounds like a typical bastard.

 * [Stan Fox's glasses keep slipping off]
 * Stan Fox: Damn these glasses, son.
 * Navin R. Johnson: Yes, sir. [to the glasses] I damn thee!

 * [Navin works as a weight guesser in a circus]
 * Fairgoer: Hey, honey, let's see how good this guy is. What do I win?
 * Navin R. Johnson: [gesturing at the prize display] Uh, anything in this general area right in here. Anything below the stereo and on this side of the Bicentennial glasses. Anything between the ashtrays and the thimbles. Anything in this three inches, right in here, in this area that includes the Chicklets but not the erasers.
 * Fairgoer: No sir. Come on, honey. He thought he had himself a rube.
 * Navin: Frosty, I'm just no good at this.
 * Frosty: Ah, come on, Navin. You're doing fine.
 * Navin: No, I've already given away eight pencils, two hula dolls and an ashtray, and I've only taken in fifteen dollars.
 * Frosty: Navin, you have taken in fifteen dollars and given away fifty cents worth of crap, which gives us a net profit of fourteen dollars and fifty cents.
 * Navin: Ah, it's a profit deal! Heh, takes the pressure off. [barking] Get your weight guessed right here! Only a buck! Actual live weight-guessing! Take your chance and win some crap! Step right up!

 * Navin R. Johnson: [in Patty the bike rider's trailer] What a great place! You know, you can tell so much about a person from the way they live. Just looking around here I can tell you're a genuinely dirty person. [holding Patty's helmet] What do I do with this? [Patty tosses it on the bed.] Oh, you keep it there. Where's your garbage? [Patty throws Navin's corn dog aside and lies on the bed.]
 * Patty Bernstein: You know what I'd like to do?
 * Navin: What?
 * Patty: Guess your weight.
 * Navin: Hey, that would be interesting for me. No one has tried to guess my weight! You see, I guess their weight so it's sort of a—
 * Patty: Put your arms up.
 * Navin: This will give me a whole different perspective on this. [Patty gropes his buttocks] Hey! You're really trying to be accurate! Is it getting hot in here? Wait a minute! What's happening to my "special purpose"?
 * Patty: What's your special purpose?
 * Navin: Well, when I was a kid my mom told me: there goes my special purpose! And someday I'd find out what that special purpose was!
 * Patty: Today's the day!
 * Navin: Hey, this is like a ride!

 * [On the porch of Navin's old house]
 * Grandmother: [reading letter from Navin] "My dear family, Guess what? Today I found out what my 'special purpose' is for. Gosh what a great time I had. I wish my whole family could have been here with me. Maybe some other time as I intend to do this a lot. Every chance I get. I think next week I'll be able to send some more money as I may have extra work. My friend Patty promised me a blow job. Your loving son, Navin." And he's got the kisses here.
 * Father: That Patty must be a sweet girl.
 * Mother: God bless her.

 * Navin R. Johnson: I had the craziest fantasy that I could rise up and float right down the end of this coronet, right through here, through these valves, right along this tube, to right up against your lips and give you a kiss.
 * Marie: Why didn't you?
 * Navin: Well, I didn't want to get spit on me.

 * Navin R. Johnson: Why are you crying? And why are you wearing that old dress?
 * Marie Johnson: Because I just heard a song on the radio that reminded me of the way we were.
 * Navin: What was it?
 * Marie: "The Way We Were."

 * Navin R. Johnson: I'm gonna bounce back and when I do I'm gonna buy you a diamond so big it's gonna make you puke!
 * Marie Johnson: I don't wanna puke!

Taglines

 * He was a poor black sharecropper's son who never dreamed he was adopted.
 * From rags to riches... to rags.

Cast

 * Steve Martin — Navin R. Johnson / Cat Juggler (as Pig-Eye Jackson)
 * Bernadette Peters — Marie Kimble Johnson
 * Catlin Adams — Patty Bernstein
 * Jackie Mason — Harry Hartouinian
 * Carl Reiner — Himself
 * M. Emmet Walsh — The Sniper

title: The Jerk


text:
Smallville

 * Seasons: 1 2 3 4 5 6 7 8 9 10 | Main

Smallville (2001–2011) is an American television series that follows the adventures of a young Clark Kent, now a teenager living in Smallville, Kansas, during the years before he becomes Superman.

Seasons

 * Season 1
 * Season 2
 * Season 3
 * Season 4
 * Season 5
 * Season 6
 * Season 7
 * Season 8
 * Season 9
 * Season 10

Cast

 * Tom Welling - Clark Kent (Season 1 - 11)
 * Allison Mack - Chloe Sullivan (Season 1 - 11)
 * Kristin Kreuk - Lana Lang (Season 1 - 7; recurring season 8; 11)
 * Michael Rosenbaum - Lex Luthor (Season 1 - 7; 11 and Guest Star in Season 10)
 * Eric Johnson - Whitney Fordman (Season 1 - 2; 4)
 * Sam Jones III - Pete Ross (Season 1 - 3; 7)
 * Annette O'Toole - Martha Kent (Season 1 - 6; 9; 10 - 11)
 * John Schneider - Jonathan Kent (Season 1 - 5; 10 - 11)
 * John Glover - Lionel Luthor (Season 1 - 7; 10)
 * Erica Durance - Lois Lane (Season 4 - 11)
 * Jensen Ackles - Jason Teague (Season 4)
 * Justin Hartley - Oliver Queen (Season 6 - 11)
 * Aaron Ashmore - Jimmy Olsen (Season 6 - 8; 10)
 * Laura Vandervoort - Kara (Season 7 - 8; 10 - 11)
 * Cassidy Freeman - Tess Mercer (Season 8 - 11)
 * Sam Witwer - Davis Bloome (Season 8)
 * Callum Blue - Zod (Season 9 and Guest Star in Season 10)

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

title: Smallville


text:
User talk:Aimster

 * Do not go where the path may lead, go instead where there is no path and leave a trail. ~Ralph Waldo Emerson

 * Free your mind...and your bottom will follow.

 * "If you always do what you always did you'll always get what you always got."

 * "Listen to your own advice."

title: User talk:Aimster


text:
User:Leoadec~enwikiquote

This user ain't here anymore!

The user who used to occupy this page is no longer active in this project.

So long, and thanks for all the ghoti.

pt:Usuário:Leuadeque

title: User:Leoadec~enwikiquote


text:
Louis-Ferdinand Céline

Louis-Ferdinand Céline (May 27, 1894 – July 1, 1961) was a French author.

Quotes

 * I should be able to get the alligators to dance to the tune of the pan pipe.
 * (March 30, 1947)

 * I should give all the works of Baudelaire for a female Olympic swimmer.
 * (Letters to Milton Hindus)

 * Experience is a dim lamp, which only lights the one who bears it.
 * Des pays où personne ne va jamais. Interview of February 1960 with Jean Guenot und Jacques d'Arribehaude.
 * Reported in Céline à Meudon : transcriptions des entretiens avec Jacques d'Arribehaude et Jean Guenot. Éditions Jean Guenot, 1995 ISBN 2-85405-058-4
 * God is being repaired.
 * L'École des cadavres (School for Corpses), Denoël 1942, p. 6

 * Hate gave birth to the slang; Slang (‘argot’) exists not anymore.
 * ( « L'argot est né de la haine, il n'existe plus» Arts, 6. February 1957. in  À l’agité du bocal   et autres textes,  (op. cit.) p. 55.

 * I clearly see you a tapeworm, but not a cobra, not a cobra at all...no good at the flute! (…) I’ll go applaud you when you finally become a true monster, when you’ll have paid them, the witches, what you have to, their price, so they transmute you, blossom you, into a true phenomenon. Into a tapeworm that plays the flute. (To the Fidgeting Lunatic)
 * in Albert Paraz, Le Gala des Vaches, Éditions de l’Élan, Paris, 1948 ; À l'agité du bocal, et autres textes de L.-F. Céline, l'Herne / Carnets de l'Herne ISBN 9782851976567, 2006, 85 p. ; To the Fidgeting Lunatic (Céline on Sartre), translation by Constantin Rigas.

Voyage au bout de la nuit (Journey to the End of the Night) 1932

 * Voyage au bout de la nuit, éd. Gallimard (1972) ISBN 2070360288; Journey to the End of the Night, tr. John H. P. Marks (1934); Journey to the End of the Night, tr. Manheim, Ralph (2006), New York: New Directions. ISBN 9780811216548.

 * You can be a virgin in horror the same as in sex.
 * Chapter 2
 * The biggest defeat in every department of life is to forget, especially the things that have done you in, and to die without realizing how far people can go in the way of crumminess. When the grave lies open before us, let’s not try to be witty, but record the worst of human viciousness we’ve seen without changing one word. When that’s done, we can curl up our toes and sink into the pit. That’s work enough for a lifetime.
 * Chapter 3
 * Anybody who talks about the future is a bastard, it's the present that counts.
 * Chapter 4
 * As far as they were concerned, gunfire was nothing but noise. That’s why wars can keep going. Even the people who make them, who fight in them, don’t really get the picture. Even with a bullet in their gut, they’d go on picking up old shoes that “might come in handy.” The way a sheep, lying on its side in a meadow, will keep on grazing with its dying breath. Most people don’t die until the last moment; others start twenty years in advance, sometimes more. Those are the unfortunates.
 * Chapter 4
 * The one thing any of us really cared about was living for one more hour, one more hour is a big deal in a world where everything has reduced itself to murder.
 * Chapter 4
 * "I don't think about anything," he says, "No thoughts at all! I think about not getting killed... that keeps me busy... One more day is one more day-That's what I think!"
 * Chapter 4

 * I believed in her body, I didn't believe in her soul. I thought of Lola as a charming goldbrick, miles away from the war, miles away from life.
 * Chapter 5
 * The sadness of the world has different ways of getting to people, but it seems to succeed almost every time.
 * Chapter 5
 * Then I fell sick, I was delirious, driven mad by fear, they said at the hospital. Maybe so. The best thing to do when you're in this world, don't you agree, is to get out of it. Crazy or not, scared or not.
 * Chapter 5

We go in and drink the beer with no head on it. But under the cardboard trees the stink of the waiter's breath is real. And the change he gives you has several peculiar coins in it, so peculiar that you go on examining them for weeks and weeks and finally, with considerable difficulty, palm them off on some beggar. What do you expect at the carnival? Gotta have what fun you can between hunger and jail, and take things as they come. No sense complaining, we're sitting down aren't we? Which ain't to be sneezed at. I saw the same old Gallery of the Nations, the one Lola caught sight of years and years ago on that avenue in the park of Saint-Cloud. You always see things again at carnivals, they revive the joy of past carnivals. Over the years the crowds must have come back time and again to stroll on the main avenue of the park of Saint-Cloud...taking it easy. The war had been over long ago. And say I wonder if that shooting gallery still belonged to the same owner? Had he come back alive from the war? I take an interest in everything. Those are the same targets, but in addition, they're shooting at airplanes now. Novelty. Progress. Fashion. The wedding was still there, the soldier too, and the town hall with its flag. Plus a few more things to shoot at than before.[27]
 * Everything interesting takes place in the dark; there is no doubt about it. We know nothing of the true story of the men. ― [6]
 * Almost every desire a poor man has is a punishable offence.[16]
 * We are, by nature, so futile that distraction alone can prevent us from dying altogether.[17]
 * Love is infinity - come down to poodles' level.[1]
 * It's harder to lose the wish to love than the wish to live.[7]
 * Living, just by itself - what a dirge that is! Life is a classroom and boredom's the usher, there all the time to spy on you; whatever happens, you've got to look as if you were awfully busy all the time doing something that's terribly exciting - or he'll come along and nibble your brain.[32]
 * And the music came back with the carnival, the music you've heard as far back as you can remember, ever since you were little, that's always playing somewhere, in some corner of the city, in little country towns, wherever poor people go and sit at the end of the week to figure out what's become of them, sometimes here, sometimes there, from season to season, it tinkles and grinds out the tunes that rich people danced to the year before. It's the mechanical music that floats down from the wooden horses, from the cars that aren't cars anymore, from the railways that aren't at all scenic, from the platform under the wrestler who hasn't any muscles and doesn't come from Marseille, from the beardless lady, the magician who's a butter-fingered jerk, the organ that's not made of gold, the shooting gallery with the empty eggs. It's the carnival made to delude the weekend crowd.
 * The one who talks about the future is a rascal. The present is the only thing that matters. To invoke one’s posterity is to make a speech to maggots. [4]
 * A woman who spends her time worrying about pregnancy is a virtual cripple; she'll never go very far.― [7]
 * I warn you that when the princes of this world start loving you it means they are going to grind you up into battle sausage. ― [6]
 * If you aren't rich you should always look useful.
 * In the kitchens of love, after all, vice is like the pepper in a good sauce; it brings out the flavour, it's indispensable." ― [6]
 * -	 (Lola): Only mad men and cowards refuse to go to the war, when their homeland is in danger! - (Bardamu): So, hurrah for the mad men and the cowards! ― [6]
 * "The rich don't have to kill to eat." – [30]
 * The rich are inebriate in another way and cannot contrive to grasp these frenzied longings for security. To be rich is another form of intoxication: it spells forgetfulness. In fact, that is what one wants riches for: to forget.
 * I cannot refrain from doubting that there exist other genuine realizations of our deepest character than war and illness, those two infinities of nightmare.[39]
 * The natives, by and large, had to be driven to work with clubs, they preserved that much dignity, whereas the whites, perfected by public education, worked of their own free will.[12]
 * Why struggle, waiting is good enough, since thievery is bound to end up in the street. Basically, only the street counts. Why deny it? It's waiting for us. One of these days we'll have to make up our minds and go down in to the street, not one or two or three of us, but all. We stand on the brink, we simper and fuss, but never mind, the time will come.

Mea culpa; suivi de la vie et l'oeuvre de Semmelweis (1937)

 * Politics has putrified mankind more profoundly in the last three centuries than in the whole of pre-history. We were more united in the middle ages than we are today; then a common spirit took form.[16]
 * Since the end of the period of belief, leaders exalt every defect, every kind of sadism, and gain all the more through their vices: vanity, ambition, war, death in a word.[16]
 * [Industrialized man, drunk on alcohol and gasoline, becomes a confusion of sheep, bull and hyena.] Charming. The least obstructed little asshole looks on himself in the mirror as Jupiter.[18]
 * {Music symbolizes the loss of faith, of common belief.] The small, intimate church is closed, the organs are dead, it is sadder than before. Only those whom fate designs for the eternal mass of infinite love remain. They compose only a very small chapel of clarity in space and time.[45]
 * In this society which we are induced to frequent, composed above all of politicians and artists, one cannot realize one's true worth.[99]

L'Ecole des cadavres (The School for Corpses, 1938)

 * It is in the United States that one may better see, if one has the taste for it, the vast Jewish panic, the mad anguish that strangles, the camouflaged arrogance, at the slightest evocation of a possibility of their regulation for the general world-wide good.[50]
 * The three radios, the six cars, the four refrigerators, the seven telephones in each of the 300,000 Jewish households, and the super-television![51]
 * ...personally I find Hitler, Franco, Mussolini fabulously debonaire, admirably magnanimous, infinitely more sympathetic...than 250 Nobel Prize winners.
 * The judeo-Americans are notorious idiots, bellylanding in foolishness: look at Roosevelt, Otto Khan, Morgenthau, Filene, Barush, Rosenthal...Observe these cunts. [75]
 * [The fascist states want no war] Why? Because the fascist states realize before our very eyes, among Aryans, without gold, without Jews, without Freemasons, the famous socialist program, of which the communists have had their mugs full and have never brought off. [100]
 * Your system of producing wealth, factories, mines, cooperatives will fall apart, like everything else, under the attacks of the people, in the delirious, popular boulimia. [101]
 * Spiritually we are at ground zero, sunk, bored to perdition. All our arts prove it. Since the renaissance, so mechanized, we repeat with almost futile variants the same hackneyed sentimentalities (we call them eternal values!) Love! Re-love No Love! More Love! [102]
 * ...the material bungling, the ladder-climbing and the shit, you are going marvelously to be served! Shitty! You yourselves are promised to the revolutionary puppies! Bulging eyed, aberrant, pontificating, cock-up cancers, you committed at the outset the capital, inexpiable mistake: you have bet according to your guts, you have adulated, exalted, fawned on and glorified your tripes.[105]
 * You pin-heads, you have not understood in communism its admirable, instantaneous manner of appeasing all your ruined tax-payer grudges ferociously, in the name of a new purity, a non-existent proletarian virtue, you deceived jackals. Your intimate personal plan won't wash. I am well acquainted with you. [128]
 * Above all communism is a poetic vocation. Without poetry, without a burning, purifying altruistic fervor, communism is only a farce, the receptacle of all anger, of all plebian resentment, the decadent playhouse of sharks, of all the tragic pimps, of all Jews, performing their Talmudic imposture. [130]
 * The populace is a true museum of all the stupidities of the ages: it swallows everything, it admires everything, it preserves everything, it defends everything, it understands nothing. [145]
 * [The press from right to left, is corrupt. It will say anything if the bribe is large enough]...gloss over events according to the color of the subsidy, undress, attack, traduce, rant, all according to the sum in the envelope. [177]
 * In democratic politics it is money that commands. And the money is Jewish. [180]
 * Our French Republic is no more than a great gullet swallowing the negroizing of the French at the command of the Jews. Our governors are a clique of sadistic yids and yellow-bellied masons sworn to swallow us up, to bastardize us further, to boil us down by all the grotesque, primitive means of inter-mixture, part negro, part yellow, part white, part red, part monkey, part Jewish, part everything. [219]
 * "To be or not to be" Aryan? That is the question! And nothing more! All the doctrines concerning the absence of Race, concerning the vast racial confusion, all the spreading of racial jumbling at full pace, the esperanto-ism of the anus "Romain Rolland style," resulting in the greatest fornicating Babel are no more than destructive foul tricks, all emerging from the same Talmudic shop: "To the destruction of the Whites."
 * In the kingdom of the "fallen in the shit" the lunatics are king. [222-23]
 * You [Jews] terrify no one. The sun sinks, you swank about to the right, to the left. Europe forms up against you. [294]
 * Even the richest, the most superb. They continue to offer themselves. Indeed, their life is no more than a perpetual whoredom, more or less decorative, more or less seedy, more or less affected, sumptuous, pretentious. [299]

Les Beaux Draps (A Fine Mess, 1941)

 * [There are] more Jews than ever in the streets, more Jews than ever in the press, more Jews than ever at the bar, the Opéra, the Comédie Française, in manufacturing, in banks. Paris and France under the sway of Freemasons and Jews more than ever and more arrogantly than ever before.
 * Beating up Jews (by Jew I mean anyone with a Jew for a grandparent, even one!) won’t help, I’m sure, that’s just going around in circles, it’s a joke, you’re only beating around the bush if you don’t grab them by the strings [tefillins], if you don’t strangle them with them.
 * Cited in Wyatt Mason "Uncovering Céline" The New York Review of Books (14 January 2010).
 * From a review of the original French editions of Celine's antisemitiic writings, also including Bagatelles pour un massacre (Trifles for a Massacre, 1937) and L'École des cadavres (The School of Corpses, 1938).

About Louis-Ferdinand Céline

 * In alphabetical order by author or source.

 * To many Frenchmen, the Third Republic simply did not seem worth dying for, when so many of their fathers, brothers and friends had died for it already between 1914 and 1918. This was the mood - the refusal to pursue another Pyrrhic victory - that had been foreshadowed in Louis-Ferdinand Celine's Voyage au bout de la nuit (1932), with its stomach-churning evocation of the slaughter of the last war's opening phase. The same mood inspired the Nobel laureate Roger Martin Du Gar d's letter to a friend in September 1936: 'Anything rather than war! Anything . . . even Fascism in Spain . . . Even Fascism in France: Nothing, no trial, no servitude can be compared to war: Anything, Hitler rather than war!'
 * Niall Ferguson, The War of the World: Twentieth-Century Conflict and the Descent of the West (2006), pp. 389

Nor is there any doubt about what motivated Céline. He was possessed of a furious hatred. He wrote three pamphlets between 1937 and 1941 that supported Hitler and attacked the Jews. This was not the type of drawing-room antisemitism that you find in the work of, say, Evelyn Waugh. It was wild-eyed conspiracy theory, in which he saw the corrupting hand of Jews everywhere: in finance, industry, the media, education and much else. He lumped in, among others, Queen Elizabeth (mother of our current Queen), Wallis Simpson and Pope Pius XII as instruments of international Jewry.
 * [T]here is no doubting where Céline stood on the central moral question of the age. In the struggle of democracy against totalitarianism, he was on the wrong side.
 * Oliver Kamm "One French literary hero needs to be forgotten" The Jewish Chronicle (24 September 2021)

 * "Louis-Ferdinand Céline," taken from his grandmother's and mother's first names, with his first novel. His second novel, Mort à crédit (Death on the Installment Plan, 1936), his greatest work, moves back in time to his childhood on the Passage Choiseul, a commercial arcade in central Paris where his mother ran a lace shop. The family lived upstairs, suffocating from the odors emanating from the gas lighting. You can read the novel as a lower-class rewrite of Proust. Céline’s madeleine scene is a family puking on a ferry; his Albertine is Nora at a British boarding school, Meanwell College, where the smitten Ferdinand, a younger version of the Ferdinand Bardamu we meet in Voyage, resolves not to talk. The writing, far cruder and more physical than that of the first novel, was censored, and the first edition was full of white spaces where words and phrases had been cut.
 * [B]eing on the wrong side of history also served him a heaping plate of material for new work after 1945 when, in a trilogy of novels—D’un château l’autre (Castle to Castle, 1957), Nord (North, 1960), Rigodon (1961)—he chronicled a shattered world in ever more fragmented prose and honed his persecution complex via his increasingly deranged narrator. The writer who said he was only about style was in fact a revisionist historian, providing a rare and perversely instructive view of Vichy from the point of view of the defeated. His postwar novels are much more overtly political than the first two. They’re also ventures into Holocaust denial: "Nuremberg," he wrote in D’un château l’autre, "needs redoing."
 * Alice Kaplan "The Master of Blame" The New York Review of Books (21 July 2022)

 * A few days after the Normandy landings, knowing only too well that he would be either assassinated by résistants or condemned to death for treason by a new Gaullist or communist government, he fled France together with a thousand unrepentant French collaborators, one of whom was Marshal Pétain, the leader of the collaborationist Vichy government. With the help of Nazi occupiers, these fugitives absconded to the Sigmaringen Castle in the Swabian Alps of southern Germany. In March 1945, Céline and his wife, Lucette, then found refuge in Denmark, where they stayed until 1951, when Céline was assured he could return to France without fear for his life—although a French court had, in the meantime, condemned him in absentia as a "national disgrace." Having already served a spell in prison in Denmark at France’s behest, Céline was allowed to return home, settling in leafy Meudon, just outside Paris.
 * Agnès Poirier "Cashing In on Céline’s Anti-Semitism" The New York Review of Books (12 January 2018)
 * The article concerns proposals to reprint antisemitic texts by Louis-Ferdinand Céline published between 1937 and 1941 and not reprinted in France since 1945. Publication was suspended in early 2018.

title: Louis-Ferdinand Céline


text:
Charles Bukowski

Charles Bukowski (16 August 1920 – 9 March 1994) was a Los Angeles, California poet and novelist sometimes mistakenly associated with Beat Generation writers because of alleged similarities of style and attitude. Bukowski's writing was heavily influenced by the geography and atmosphere of his home city of Los Angeles. He wrote more than fifty books and countless smaller pieces. He is often mentioned as an influence by contemporary authors and his style is frequently imitated.

Quotes

 * listed chronologically

 * It's 4:30 in the morning, it's always 4:30 in the morning.
 * Rooming House Madrigals (1954)

 * No shortcuts, with me as with life.
 * Sofie’s BS (1997)

 * Van Gogh writing his brother for paints Hemingway testing his shotgun Celine going broke as a doctor of medicine the impossibility of being human Shakespeare a plagiarist Beethoven with a horn stuck into his head against deafness the impossibility the impossibility Nietzsche gone totally mad the impossibility of being human all too human this breathing in and out out and in these punks these cowards these champions these mad dogs of glory moving this little bit of light toward us impossibly.
 * "Beasts Bounding Through Time" (1986)

 * I've never met another man I'd rather be.
 * in Bukowski: Born Into This (2002)

 * I walk through rooms of the dead, streets of the dead, cities of the dead: men without eyes, men without voices; men with manufactured feelings and standard reactions; men with newspaper brains, television souls and high school ideals.
 * in Sunlight Here I Am: Interviews and Encounters, 1963-1993 (2003), p. 24

Notes of a Dirty Old Man (1969)

 * If you want to know who your friends are, get yourself a jail sentence.

 * An intellectual is a man who says a simple thing in a difficult way; an artist is a man who says a difficult thing in a simple way.

Tales of ordinary madness (1967-83)

 * I was given the job of milking the cows, finally, and it got me up earlier than anybody. But it was kind of nice, pulling at those cows' tits (pg. 172).

 * Show me a man who lives alone and has a perpetually clean kitchen, and eight times out of nine I'll show you a man with detestable spiritual qualities.

 * The free soul is rare, but you know it when you see it - basically because you feel good, very good, when you are near or with them.

Post Office (1971)

 * It began as a mistake.

 * But I couldn't help thinking, god, all these mailmen do is drop in letters and get laid. This is the job for me, oh yes yes yes.

 * I didn't even have a uniform, just a cap. I wore my regular clothes. The way my shackjob Betty and I drank there was hardly money for clothes.

"Don't be silly, he's an obvious sadist," I said. "How long have you been in the Post Office?" "Three weeks." "MR. JONSTONE HAS BEEN WITH THE POST OFFICE FOR 30 YEARS!" "What does that have to do with it?" "I said, MR. JONSTONE IS A FINE MAN!" I believe the poor fellow actually wanted to kill me. He and Jonstone must have slept together. "All right," I said, "Jonstone is a fine man. Forget the whole fucking thing." Then I walked out and took the next day off. Without pay, of course.
 * "MR. JONSTONE IS A FINE MAN!"

 * I thought about taking a shower but I could see the headlines: MAILMAN CAUGHT DRINKING THE BLOOD OF GOD AND TAKING A SHOWER, NAKED, IN A ROMAN CATHOLIC CHURCH. ...I found out later that mail for the church was delivered to the parish house around the corner. But now, of course, I knew where to... shower when I'm down and out.

 * It was the poor part of town—small houses and courts with mailboxes full of spiders, mailboxes hanging by one nail, old women inside rolling cigarettes and chewing tobacco and humming to their canaries and watching you, an idiot lost in the rain.

 * "Any damn fool can beg up some kind of job; it takes a wise man to make it without working."

 * "They wouldn't fire me. Even the salesmen liked me. They were robbing the boss out the back door but I didn't say anything. That was their little game. It didn't interest me. I wasn't much of a petty thief. I wanted the whole world or nothing."

"Lady, don't you realize that we don't even have time to pull up our shorts?" "Pull up your shorts?" "YES, PULL UP OUR SHORTS!" I screamed at her and walked off into the wall of water.
 * "Wouldn't you like to come in and have a cup of tea and dry off?"

 * “WHAT'S WRONG WITH ASSHOLES, BABY? YOU'VE GOT AN ASSHOLE, I'VE GOT AN ASSHOLE! YOU GO TO THE STORE AND BUY A PORTERHOUSE STEAK, THAT HAD AN ASSHOLE! ASSHOLES COVER THE EARTH! IN A WAY TREES HAVE ASSHOLES BUT YOU CAN'T FIND THEM, THEY JUST DROP THEIR LEAVES. YOUR ASSHOLE, MY ASSHOLE, THE WORLD IS FULL OF BILLIONS OF ASSHOLES. THE PRESIDENT HAS AN ASSHOLE, THE CARWASH BOY HAS AN ASSHOLE, THE JUDGE AND THE MURDERER HAVE ASSHOLES . . . EVEN THE PURPLE STICKINPIN HAS AN ASSHOLE!”

 * “Look, you're small-town. I've had over 50 jobs, maybe a hundred. I've never stayed anywhere long. What I am trying to say is, there is a certain game played in offices all over America. The people are bored, they don't know what to do, so they play the office-romance game. Most of the time it means nothing but the passing of time. Sometimes they do manage to work off a screw or two on the side. But even then, it is just an offhand pasttime, like bowling or t.v. or a New Year's Eve party. You've got to understand that it doesn't mean anything and then you won't get hurt. Do you understand what I mean?"

 * "Fay had a spot of blood on the left side of her mouth and I took a wet cloth and wiped it off. Women were meant to suffer; no wonder they asked for constant declarations of love.”

 * "I squeezed Fay’s hand, kissed her on the forehead. She closed her eyes and seemed to sleep then. She was not a young woman. Maybe she hadn’t saved the world but she had made a major improvement. Ring one up for Fay."

Factotum (1975)

 * I got into bed, opened the bottle, worked the pillow into a hard knot behind my back, took a deep breath, and sat in the dark looking out of the window. It was the first time I had been alone for five days. I was a man who thrived on solitude; without it I was like another man without food or water. Each day without solitude weakened me. I took no pride in my solitude; but I was dependent on it. The darkness of the room was like sunlight to me. I took a drink of wine.
 * Ch. 17

 * "You have a very strange face," she said. "You're not really ugly." "Number four shipping clerk, working his way up." "Have you ever been in love?" "Love is for real people." "You sound real." "I dislike real people." "You dislike them?" "I hate them." We drank some more, not saying much. It continued to snow. Gertrude turned her head and stared into the crowd of people. Then she looked at me. "Isn't he handsome?" "Who?" "That soldier over there. He's sitting alone. He sits so straight. And he's got all his medals on." "Come on, let's get out of here."
 * Ch. 27

 * That was all a man needed: hope. It was a lack of hope that discouraged a man. I remembered my New Orleans days, living on two five-cent candy bars a day for weeks at a time in order to have leisure to write. But starvation, unfortunately, didn't improve art. It only hindered it. A man's soul was rooted in his stomach. A man could write much better after eating a porterhouse steak and drinking a pint of whiskey than he could ever write after eating a nickel candy bar. The myth of the starving artist was a hoax.
 * Ch. 29

 * I couldn't get myself to read the want ads. The thought of sitting in front of a man behind a desk and telling him that I wanted a job, that I was qualified for a job, was too much for me. Frankly, I was horrified by life, at what a man had to do simply in order to eat, sleep, and keep himself clothed. So I stayed in bed and drank. When you drank the world was still out there, but for the moment it didn't have you by the throat.
 * Ch. 31

 * "Baby," I said. "I'm a genius but nobody knows it but me."
 * Ch. 31

 * "Someday," I told Jan, "when they demonstrate that the world has four dimensions instead of just three, a man will be able to go for a walk and just disappear. No burial, no tears, no illusions, no heaven or hell. People will be sitting around and they'll say, 'What happened to George?' And somebody will say, 'Well, I don't know. He said he was going out for a pack of cigarettes.
 * Ch. 42

 * My ambition is handicapped by my laziness.
 * Ch. 45, Manny

 * "I've given you my time. It's all I've got to give - it's all any man has. And for a pitiful buck and a quarter an hour."... "my time so that you can live in your big house on the hill and have all the things that go with it. If anybody has lost anything on this deal, on this arrangement... I've been the loser.
 * Ch. 49, Henry Chinaski

 * I had first learned that I was an idiot in the school yard. I was taunted and poked at and jeered, as were the other one or two idiots. My only advantage over the other one or two, two idiots. My only advantage over the other one or two, who were beaten and chasen, was that I was sullen. When surrounded I was not terrified. They never attacked me but would finally turn on one of the others and beat them as I watched.
 * Ch. 52

 * "People don't need love. What they need is success in one form or another. It can be love but it needn't be."
 * Ch. 52

 * It was true that I didn't have much ambition, but there ought to be a place for people without ambition, I mean a better place than the one usually reserved. How in the hell could a man enjoy being awakened at 6:30 a.m. by an alarm clock, leap out of bed, dress, force-feed, shit, piss, brush teeth and hair, and fight traffic to get to a place where essentially you made lots of money for somebody else and were asked to be grateful for the opportunity to do so?
 * Ch. 55

 * The bus ran along a very narrow strip of cement that stood up out of the water with no guard-rail, no nothing; that's all there was to it. The bus driver leaned back and we roared along over this narrow cement strip surrounded by water and all the people in the bus, the twenty-five or forty or fifty-two people trusted him, but I never did. Sometimes it was a new driver, and I thought, how do they select these sons of bitches? There's deep water on both sides of us and with one error of judgement he'll kill us all. It was ridiculous. Suppose he had an argument with his wife that morning? Or cancer? Or visions of God? Bad teeth? Anything. He could do it. Dump us all. I knew that if I was driving that I would consider the possibility or desirability of drowning everybody. And sometimes, after just such considerations, possibility turns into reality. For each Joan of Arc there is a Hitler perched at the other end of the teeter-totter. The old story of good and evil. But none of the bus drivers ever dumped us. They were thinking instead of car payments, baseball scores, haircuts, vacations, enemas, family visits. There wasn't a real man in the whole shitload.
 * Ch. 56

 * Nothing is worse than to finish a good shit, then reach over and find the toilet paper container empty. Even the most horrible human being on earth deserves to wipe his ass.
 * Ch.65

 * I had lumps all over my body, dizzy spells, I was spitting blood, and I had gone there only to be given an appointment for three weeks later. Now like every American boy I had always been told: catch cancer early. Then you go down to catch it early and they make you wait three weeks for an appointment. That's the difference between what we're told and actuality.
 * Ch. 70

 * Janeway Smithson was a little, insane, grey-haired bantam rooster of a man. He loaded five or six of us in one cab, and we rolled down to the bed of the L.A. River. Now in those days the L.A. River was a fake - there was no water, just a wide, flat, dry cement runway. The bums lived down there by the hundreds in little cement alcoves under the bridges and overpasses. Some of them even had potted plants in front of their places. All they needed to live like kings was canned heat (Sterno) and what they picked out of the nearby garbage dump. They were tan and relaxed and most of them looked a hell of a lot healthier than the average Los Angeles business man. Those guys down there had no problems with women, income tax, landlords, burial expenses, dentists, time payments, car repairs, or with climbing into a voting booth and pulling the curtain closed.
 * Ch. 71

 * When I went to the Yellow Cab Company I passed the Cancer Building and I remembered that there were worse things than looking for a job you didn't want.
 * Ch. 71

 * "I'm no preacher but I can tell you this-the lives that people lead are driving them crazy and their insanity comes out in the way they drive."
 * Ch. 72, Janeway Smithson

 * There were always men looking for jobs in America. There were always all these usable bodies. And I wanted to be a writer. Almost everybody was a writer. Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer. Of those fifty guys in the room, probably fifteen of them thought they were writers. Almost everybody used words and could write them down, i.e., almost everybody could be a writer. But most men, fortunately, aren't writers, or even cab drivers, and some men - many men - unfortunately aren't anything.
 * Ch. 73

 * "Every man is a poet"
 * Ch. 72, Henry Chinaski

Women (1978)

 * I was glad I wasn't in love, that I wasn't happy with the world. I like being at odds with everything. People in love often become edgy, dangerous. They lose their sense of perspective. They lose their sense of humor. They become nervous, psychotic bores. They even become killers.

 * Human relationships didn't work anyhow. Only the first two weeks had any zing, then the participants lost their interest. Masks dropped away and real people began to appear: cranks, imbeciles, the demented, the vengeful, sadists, killers. Modern society had created its own kind and they feasted on each other. It was a duel to the death--in a cesspool.

 * People with no morals often considered themselves more free, but mostly they lacked the ability to feel hate or love.

 * Morals were restrictive, but they were grounded on human experience.

 * Many a good man has been put under the bridge by a woman.

 * Once a woman turns against you, forget it. They can love you, then something turns in them. They can watch you dying in a gutter, run over by a car, and they'll spit on you.

 * I was drawn to all the wrong things: I liked to drink, I was lazy, I didn't have a god, politics, ideas, ideals. I was settled into nothingness; a kind of non-being, and I accepted it. I didn't make for an interesting person. I didn't want to be interesting, it was too hard. What I really wanted was only a soft, hazy space to live in, and to be left alone. On the other hand, when I got drunk I screamed, went crazy, got all out of hand. One kind of behavior didn't fit the other. I didn't care.

 * Nothing was ever in tune. People just blindly grabbed at whatever there was: communism, health foods, zen, surfing, ballet, hypnotism, group encounters, orgies, biking, herbs, Catholicism, weight-lifting, travel, withdrawal, vegetarianism, India, painting, writing, sculpting, composing, conducting, backpacking, yoga, copulating, gambling, drinking, hanging around, frozen yogurt, Beethoven, Bach, Buddha, Christ, TM, H, carrot juice, suicide, handmade suits, jet travel, New York City, and then it all evaporated and fell apart. People had to find things to do while waiting to die. I guess it was nice to have a choice.

Ham On Rye (1982)

 * And my own affairs were as bad, as dismal, as the day I had been born. The only difference was that now I could drink now and then, though never often enough. Drink was the only thing that kept a man from feeling forever stunned and useless. Everything else just kept picking and picking, hacking away. And nothing was interesting, nothing. The people were restrictive and careful, all alike. And I've got to live with these fuckers for the rest of my life, I thought. God, they all had assholes and sexual organs and their mouths and their armpits. They shit and they chattered and they were dull as horse dung. The girls looked good from a distance, the sun shining through their dresses, their hair. But get up close and listen to their minds running out of their mouths, you felt like digging in under a hill and hiding out with a tommy-gun. I would certainly never be able to be happy, to get married, I could never have children. Hell, I couldn't even get a job as a dishwasher.

 * The problem was you had to keep choosing between one evil or another, and no matter what you chose, they sliced a little more off you, until there was nothing left. At the age of 25 most people were finished.  A whole goddamned nation of assholes driving automobiles, eating, having babies, doing everything in the worst way possible, like voting for the presidential candidate who reminded them most of themselves. I had no interests. I had no interest in anything. I had no idea how I was going to escape. At least the others had some taste for life. They seemed to understand something that I didn't understand. Maybe I was lacking. It was possible. I often felt inferior. I just wanted to get away from them. But there was no place to go.

Hollywood (1989)

 * Money is like sex. It seems much more important when you don't have any...

The Last Night of the Earth Poems (1992)
of that day at least 6 times, I was well versed in world affairs. the remainder of the stations played a thin, sick music. the classical stations refused to come in clearly and when they did it was a stale repetition of standard and tiresome works.
 * on the radio I heard the news

I turned the radio off. a strange whirling began in my head—it circled behind the forehead, clockwise... I began to wonder, is this what happens when one goes mad?
 * "jam"

back then when Jed handed me that pint and I drained a third of it with all the disciples watching. damn, there was no way it seemed we could ever lose but we did.
 * I was still proud of that moment

and it took me 3 or 4 decades to move on just a little. and Jed, if you are still here tonight, (I forgot to tell you then) here's a thanks for that drink.
 * "two toughs"

wants to get out but I'm too tough for him, I say, stay in there, I'm not going to let anybody see you. ...I only let him out at night sometimes when everybody's asleep. ...he's singing a little in there, I haven't quite let him die ...and it's nice enough to make a man weep, but I don't weep,do you?
 * there's a bluebird in my heart that
 * Bluebird

drop out of your life and forget you real fast. a woman can't go anywhere but UP after leaving you, honey.
 * a woman can
 * "pulled down shade"

on the ground, they were reaching up their arms and trying to pull me down but they couldn't do it.
 * there were these people

I felt like pissing on them. they were so jealous. all they had to do was to work their way slowly up to it as I had done.

such people think success grows on trees.

you and I, we know better.
 * "transport"

Pulp (1994)

 * Sometimes I felt that I didn’t even know who I was. All right, I’m Nicky Belane. But check this. Somebody could yell out, ‘Hey, Harry! Harry Martel!’ and I’d most likely answer, ‘Yeah, what is it?’ I mean, I could be anybody, what does it matter?

 * Man was born to die. What did it mean? Hanging around and waiting. Waiting for the ‘A train.’ Waiting for a pair of big breasts on some August night in a Vegas hotel room. Waiting for the mouse to sing. Waiting for the snake to grow wings. Hanging around.

 * Hell was what you made it.

 * Sex was a trap, a snare. It was for animals.

 * Something was always after a man. It never relented. No rest, ever.

Betting on the Muse: Poems and Stories (1996)
it's a lousy fix
 * the words have come and gone, I sit ill. the phone rings, the cats sleep. Linda vacuums. I am waiting to live, waiting to die. I wish I could ring in some bravery.
 * Lines from "So now?" - p.402 (circa 1994. He died in March 1994, aged 73.)

The Captain is Out to Lunch and the Sailors have taken over the Ship (1998)

 * There's nothing to mourn about death any more than there is to mourn about the growing of a flower. What is terrible is not death but the lives people live or don't live up until their death. They don't honor their own lives, they piss on their lives. They shit them away. Dumb fuckers. They concentrate too much on fucking, movies, money, family, fucking. Their minds are full of cotton. They swallow God without thinking, they swallow country without thinking. Soon they forget how to think, they let others think for them. Their brains are stuffed with cotton. They look ugly, they talk ugly, they walk ugly. Play them the great music of the centuries and they can't hear it. Most people's deaths are a sham. There's nothing left to die.

 * We're all going to die, all of us, what a circus! That alone should make us love each other but it doesn't. We are terrorized and flattened by trivialities, we are eaten up by nothing.

Letters

 * LSD, yeah, the big parade – everybody's doin' it now. Take LSD, then you are a poet, an intellectual. What a sick mob. I am building a machine gun in my closet now to take out as many of them as I can before they get me.
 * in a letter to Steven Richmond (Published in Charles Bukowski: Locked in the Arms of a Crazy Life by Howard Sounes)

 * ... don't wait for the good woman. She doesn't exist. There are women who can make you feel more with their bodies and their souls but these are the exact women who will turn the knife into you right in front of the crowd. Of course, I expect this, but the knife still cuts. The female loves to play man against man, and if she is in a position to do it there is not one who will not resist. The male, for all his bravado and exploration, is the loyal one, the one who generally feels love. The female is skilled at betrayal. and torture and damnation. Never envy a man his lady. Behind it all lays a living hell.
 * in a letter to Steven Richmond (Published in Charles Bukowski: Locked in the Arms of a Crazy Life by Howard Sounes)

Interviews

 * I think that everything should be made available to everybody, and I mean LSD, cocaine, codeine, grass, opium, the works. Nothing on earth available to any man should be confiscated and made unlawful by other men in more seemingly powerful and advantageous positions. More often than not Democratic Law works to the advantage of the few even though the many have voted; this, of course, is because the few have told them how to vote. I grow tired of 18th century moralities in a 20th century space-atomic age. If I want to kill myself I feel that should be my business. If I go out and hold up gas stations at night to pay for my supply it is because the law inflates a very cheap thing into an escalated war against my nerves and my soul.
 * "This Floundering Old Bastard is the Best Damn Poet in Town", interview by John Thomas, in LA Free Press (1967)

 * If I'm an ass, I should say so. If I don't, somebody else will. If I say it first, that disarms them.
 * Interview with Robert Wennersten (1974)

 * "For those who believe in God, most of the big questions are answered. But for those of us who can't readily accept the God formula, the big answers don't remain stonewritten. We adjust to new conditions and discoveries. We are pliable. Love need not be a command or faith a dictum. I am my own God. We are here to unlearn the teachings of the church, state and our educational system. We are here to drink beer. We are here to kill war. We are here to laugh at the odds and live our lives so well that Death will tremble to take us."
 * "The Meaning of Life: The Big Picture", Life Magazine (December 1988)

 * I found out that Hollywood is more crooked, dumber, crueler, stupider than all the books I've read about it. They didn't go deeply enough into how it lacks art, and soul, and heart— how it's really a piece of crap. There are too many hands directing, there're too many fingers in the pot, and they're all kind of ignorant about what they're doing. They're greedy, and they're vicious. So you don't get much of a movie.
 * Interview included in the documentary Bukowski: Born Into This. Discussing the movie adaptation of Barfly and his novel Hollywood.

Quotes about Charles Bukowski

 * I was re-reading Bukowski when I decided to try a short story.
 * Ana Castillo Interview (2014)

 * Post Office by Charles Bukowski is the book I refer to when I want to confront the narrative voice at its barest, most honest, most unflattering—and most winning.
 * Ottessa Moshfegh interview quoted [https://www.oprah.com/oprahsbookclub/famous-authors-favorite-writers/all here

title: Charles Bukowski


text:
Johnny Cash

John R. Cash (26 February 1932 – 12 September 2003), born J. R. Cash and most famous as Johnny Cash, was a vastly influential American country music singer, guitarist and songwriter.

Quotes

 * Hello, I'm Johnny Cash.
 * Opening lines at many of his concerts and public appearances.

 * I have tried drugs and a little of everything else, and there is nothing in the world more soul-satisfying than having the kingdom of God building inside you and growing.
 * Explo 72

 * I love the freedoms we got in this country, I appreciate your freedom to burn your flag if you want to, but I really appreciate my right to bear arms so I can shoot you if you try to burn mine.
 * From "Ragged Old Flag" on The Great Lost Performance

 * There's always been a lot of things wrong with the country, but it's always been our obligation and opportunity to help straighten those things out.
 * From a 1991 interview with Paul Holmes

CNN interview (2002)

 * Larry King Live (26 November 2002)

King: No cure? Cash: No, I don't think so. But that's all right. There's no cure for life either.
 * Cash: I went into a coma and I was there for 12 days. They all thought I was dying and they couldn't diagnose what was wrong with me. They finally came up with a diagnosis of Shy-Drager syndrome. It was few months later they realized I didn't have that so it was Parkinson's. And then it was not that. Then finally it was autonomic neuropathy. … And I'm pretty well resolved to the fact that that's what it is. And it's a slow process of the nerve endings.

 * I'm not bitter. Why should I be bitter? I'm thrilled to death with life. Life is — the way God has given it to me was just a platter — a golden platter of life laid out there for me. It's been beautiful.

 * People say, Well, he wore that body out. Well, maybe I did. But it was to a good purpose. They should be thankful that I wore it out to the purpose I wore it out and that was writing and recording and touring and doing concerts. Everywhere I could possibly do them that I thought I might enjoy them. I thought people might enjoy me.

 * The line "because you're mine, I walk the line." It kept coming to me, you know? But I was — I was … young and not been married too long. Yes, it kept coming to me. Because you're mine, I walk the line. And then the words just naturally flowed. It was an easy song to write.

 * I think it speaks to our basic fundamental feelings, you know. Of emotions, of love, of breakup, of love and hate and death and dying, mama, apple pie, and the whole thing. It covers a lot of territory, country music does.

 * There's always rhythm going in my mind. … I'm either singing them — June will tell you, I'm either singing them, or I have got the beat going from one, or I'm writing one.

 * You can ask the people around me. I don't give up. I don't give up... and it's not out of frustration and desperation that I say I don't give up. I don't give up because I don't give up. I don't believe in it.

 * "The Man Comes Around" is a song that I wrote, it's my song of the apocalypse, and I got the idea from a dream that I had — I dreamed I saw Queen Elizabeth. I dreamed I went in to Buckingham Palace, and there she sat on the floor. And she looked up at me and said, "Johnny Cash, you're like a thorn tree in a whirlwind." And I woke up, of course, and I thought, what could a dream like this mean? Thorn tree in a whirlwind? Well, I forgot about it for two or three years, but it kept haunting me, this dream. I kept thinking about it, how vivid it was, and then I thought, Maybe it's biblical. So I found it. Something about whirlwinds and thorn trees in the Bible. So from that, my song started and... "The Man Comes Around." The song turned out to be "The Man Comes Around."

Song lyrics
All songs written by Johnny Cash, except as noted

Johnny Cash with His Hot and Blue Guitar (1957)
You stay a little while and then you're gone again. Every question that I ask, I get a lie, lie, lie. For every lie you tell, you're gonna cry, cry, cry!
 * I lie awake at night to wait 'til you come in.
 * "Cry! Cry! Cry!"

I try to make believe there's nothing wrong. But they're always askin me about you, darlin' And it hurts me so to tell 'em that you're gone. If they ask me I guess I'd be denyin' that I've been unhappy all alone. But if they heard my heart, they'd hear it cryin' Where's my darling, when's she comin' home?'
 * I do my best to hide this low-down feelin'.
 * "So Doggone Lonesome"

I keep my eyes wide open all the time. I keep the ends out for the tie that binds. Because you're mine, I walk the line.
 * I keep a close watch on this heart of mine;
 * "I Walk the Line"

It's rollin' round the bend. An' I ain't seen the sunshine' Since I don't know when. I'm stuck in Folsom prison, And time keeps draggin' on. But that train keeps a rollin' On down to San Antone.
 * I hear the train a comin',
 * "Folsom Prison Blues"

My mama told me, son Always be a good boy, Don't ever play with guns. But I shot a man in Reno Just to watch him die. When I hear that whistle blowin' I hang my head and cry.
 * When, I was just a baby,
 * "Folsom Prison Blues"

Johnny Cash Sings the Songs That Made Him Famous (1958)
Down the street that losers use. If you can wade in through the teardrops, You'll find me at the Home of the Blues.
 * Just around the corner there's heartache
 * "Home of the Blues'', written by Johnny Cash, Douglas L. McAlphin, and Glenn Douglas Tubb

And I showed the clouds how to cover up a clear blue sky. And the tears that I cried for that woman are gonna flood you Big River. Then I'm gonna sit right here until I die.
 * Now I taught the weeping willow how to cry,
 * "Big River"

The Fabulous Johnny Cash (1958)
A cold wild wind has come. Sweethearts walk by together; And I still miss someone.
 * At my door the leaves are falling;
 * "I Still Miss Someone'', written by Johnny Cash and Roy Cash

A boy filled with wanderlust who really meant no harm. He changed his clothes and shined his boots; And combed his dark hair down. And his mother cried as he walked out. Don't take your guns to town son; Leave your guns at home Bill. Don't take your guns to town.
 * A young cowboy named Billy Joe grew restless on the farm;
 * "Don't Take Your Guns to Town"

Greatest! (1959)
Hey, get rhythm when you get the blues. Yes a jumpy rhythm makes you feel so fine. It'll shake all the trouble from your worried mind. Get rhythm when you get the blues.
 * Hey, get rhythm when you get the blues.
 * "Get Rhythm"

Now Here's Johnny Cash (1961)
Would you tell me the time? How much longer will it be till we cross that Mason Dixon Line? At daylight would ya tell that engineer to slow it down? Or better still, just stop the train, Cause I wanna look around.
 * Hey porter! Hey porter!
 * "Hey, Porter"

Man in Black (1971)
Livin' in the hopeless, hungry side of town, I wear it for the prisoner who has long paid for his crime, But is there because he's a victim of the times.
 * I wear the black for the poor and the beaten down,
 * "Man in Black'' · First public performance (17 February 1971)

Ragged Old Flag (1974)
And we bring her down slow every night, We don't let her touch the ground, And we fold her up right. On second thought I do like to brag. Cause I'm mighty proud of That Ragged Old Flag.
 * So we raise her up every morning
 * "Ragged Old Flag"

The Man Comes Around

 * Performance on YouTube

An' he decides who to free and who to blame. Everybody won't be treated all the same. There'll be a golden ladder reaching down. When the man comes around.'''
 * '''There's a man goin' 'round takin' names.

At the terror in each sip and in each sup. Will you partake of that last offered cup, Or disappear into the potter's ground. When the man comes around.
 * The hairs on your arm will stand up.

One hundred million angels singin'. Multitudes are marching to the big kettle drum. Voices callin', voices cryin'. Some are born an' some are dyin'. It's Alpha and Omega's Kingdom come.
 * Hear the trumpets, hear the pipers.

Whoever is righteous, let him be righteous still. Whoever is filthy, let him be filthy still. '''Listen to the words long written down, When the man comes around.'''
 * Whoever is unjust, let him be unjust still.

Quotes about Cash

 * We were in the studio, getting ready to work — and I popped it in, by the end I was really on the verge of tears. I’m working with Zach de la Rocha, and I told him to take a look. At the end of it, there was just dead silence. There was, like, this moist clearing of our throats and then, "Uh, OK, let’s get some coffee."
 * Trent Reznor on the video of Cash's cover of the Nine Inch Nails song "Hurt", in Rolling Stone (6 March 2003)

title: Johnny Cash


text:
Little Turtle

Chief Little Turtle (Miami-Illinois: Michikinikwa) (c.1747 — July 14, 1812) was a Sagamore (chief) of the Miami people, who became one of the most famous Native American military leaders.

Quotes

 * I have been the last to sign this treaty; I will be the last to break it.
 * upon signing the Treaty of Greenville, August 3, 1795

 * My forefather kindled the first fire at Detroit; from thence, he extended his lines to the head waters of Scioto; from thence, to its mouth; from thence, down the Ohio, to the mouth of the Wabash, and from thence to Chicago, on lake Michigan.
 * Claiming tribal lands at the Treaty of Greenville (American State Papers, Indian Affairs, vol. 1, pp. 570-571; Dft. Ex. 96).

President Washington's Indian War: The Struggle for the Old Northwest, 1790–1795 (1985)

 * More of us have died since the Treaty of Greeneville than we lost by the years of war before, and it is all owing to the introduction of liquor among us.

 * This liquor that they introduce into our country is more to be feared than the gun and tomahawk.

 * Here I am deaf and dumb. When I walk through the streets I see every person in his shop employed about something.  Once makes shoes, another hats, a third sells cloth, and everyone lives by his labor.  I say to myself, which of all these things can you do?  not one.  I can make a bow or an arrow, catch fish, kill game, and go to war, but none of these is of any use here.
 * During a visit to Philadelphia

Quotes about Michikinikwa

 * This site honors the great Chief of the Miamis, Meshekinoqua, "The Little Turtle," son of the great Chief Acquenacque. He is held in the hearts of his people, allies, and foes with the greatest of honor and respect for his courageous valor and peacemaking.
 * marker at gravesite in Fort Wayne

title: Little Turtle


text:
Bruce Almighty

Bruce Almighty is a 2003 comedy film about a man who, after complaining that God is unfair, is given God's powers to see if he can do a better job.
 * Directed by Tom Shadyac. Written by Steve Koren, Mark O'Keefe, and Steve Oedekerk.

He's got the power. (taglines)

Bruce

 * I am Bruce Almighty! My will be done!
 * Fine! The gloves are off God! C'mon, lemme see a little wrath! Smite me, O mighty smiter! You're the one who should be fired! The only one around here not doing his job is You! ANSWER ME!!!
 * [breaks down upon seeing Grace pray so hard] You win. I'm done. Please, I don't wanna do this anymore. I don't wanna be God! I want You to decide what's right for me! I SURRENDER TO YOUR WILL!

God

 * Parting your soup is not a miracle, Bruce, it's a magic trick. A single mom who's working two jobs, and still finds time to take her kid to soccer practice, that's a miracle. A teenager who says "no" to drugs and "yes" to an education, that's a miracle. People want Me to do everything for them, but what they don't realize is, they have the power. You want to see a miracle, son? Be the miracle.

Dialogue

 * [Evan Baxter's live announcement of his appointment as anchor has rankled Bruce]
 * Bruce: Oh, look. It's the owner of the Maid of the Mist. Let's have a talk with him, shall we? Come on in here, Bill. No, no, no, no. No, no. Come on. Let's have a talk.
 * Grace: Come on! What are you DOING?!
 * Bruce: Bill, you've been running the Maid of the Mist for 23 years now. Tell me. Why do you think I didn't get the anchor job?
 * Bill (Ferry Owner): Hey, man. I don't want any problems. I don't want...
 * Bruce: Is it my hair, Bill? Are my teeth not white enough? Or like the great falls, is the bedrock of my life ERODING BENEATH ME?! Eroding, eroooooooding, EEEEEEROOOOODDDING.
 * Jack: Cut the feed. Go to black.
 * Technician: I'm on it.
 * Bruce: I'm Bruce Nolan for Eyewitness News. Back to you, FUCKERS! [flips off bird]
 * Jack: Oh, boy.
 * Grace: Oh, my God.

 * God: This last entry was a little disturbing; "The gloves are off, God." "God has taken my bird and my bush." "God is a mean kid with a magnifying glass." "Smite me, O mighty smiter!" Now, I'm not much for blaspheming, but that last one made me laugh.
 * Bruce: [shocked] Are you spying on me?! Who are you?
 * God: I'm the one. Creator of the heavens and earth, Alpha and Omega.
 * Bruce: Oh, I see where this is going...
 * God: Bruce, I'm God.
 * Bruce: Bingo! Yahtzee! Is that your final answer? Our survey says, 'God'! Bing, bing, bing, bing, bing, bing, bing! Well, it was nice to meet you, God. Thank you for the Grand Canyon, and good luck with the Apocalypse. Oh, and by the way, you SUCK! You know what? It would have been a little bit more impressive though if you hadn’t used the cheesy file cabinet illusion. Anybody with a brain stem can tell that drawer is being fed through the wall from the other side.

 * God: Okay, let me explain the rules.
 * Bruce: Rules?
 * God: Yeah, you left in such a rush, I didn't get a chance to explain.
 * Bruce: Well, the "two extra fingers" thing freaked me out a little bit.
 * God: [laughs] I figured that would get your attention. I did the same thing to Gandhi, he didn't eat for three weeks. Now, here's the deal. You have all my power, use it any way you choose. There are only two rules. You can't tell anybody you're God; believe me, you don't want that kind of attention. And you can't mess with free will.
 * Bruce: Can I ask why?
 * God: [smiling] Yes, you can! That's the beauty of it!

 * Lead Thug: I'll tell you what. We'll apologize the day a monkey comes out of my butt. Then you'll get your "sorry". How about that?
 * Bruce: What a coincidence! Because that's... today.
 * [A monkey comes out of the Lead Thug's butt]
 * Thug #1: Hey, did that monkey just come out your crack, man?!
 * Thug #2: ¡Brujería! ¡Es el Diablo! (Witchcraft! It's the Devil!)
 * Thug #3: This is some voodoo shit, man! ¡Vámonos! Let's go!
 * Bruce: Are you guys leaving? Hey, don't forget your parting gifts! [Breathes bees at them, and is then joined by the monkey] Hey there, little anal-dwelling butt monkey! Time for you to go home, little buddy. [The monkey re-enters the Lead Thug's butt]

 * Evan: In other news, the Prime Minister of Sweden visited Washington today, and my tiny little nipples went to France.
 * Director: What did he just say? Check the prompter.
 * Technician: The prompter's fine.
 * Director: Evan, read the copy. Please, the copy's good, just... read it.
 * Evan: [as Bruce manipulates the teleprompter] The White House Reception Committee greeted the Prime rib roast Minister, and I do the cha-cha like a sissy girl. I "lika"... do... da cha-cha. I'm sorry, we seem to be having some "technical" difficulties... [farts] Oh... my apologies.

 * Bruce: [to God] Am I...?
 * God: You can't kneel down in the middle of a highway and live to talk about it, son.
 * Bruce: But why? Why now?
 * God: Bruce, you have a divine spark. You have the gift of bringing joy and laughter to the world. I know, I created you.
 * Bruce: Quit braggin'.
 * God: You see! That's what I'm talking about. That's the spark.
 * [God gives Bruce prayer beads]
 * Bruce: What do you want me to do?
 * God: I want you to pray, son. Go ahead. Use them.
 * Bruce: [trying to pray] Lord, feed the hungry and bring peace to all of mankind. [to God] How's that?
 * God: Great!... If you wanna be Miss America. Now c'mon - what do you really care about?
 * Bruce: [starting to break down] Grace.
 * God: Grace.... You want her back?
 * Bruce: [looking into the distance then to God] No... I want her to be happy. No matter what that means. I want her to find someone, who will treat her with all of the love she deserved from me... I want her to meet someone... who will see her always, as I do now... through your eyes...
 * God: Now that's a prayer.
 * Bruce: Yeah?
 * God: Yeah. It's good.
 * Bruce: [relieved] It's good?
 * Both: It's good! [laughs]
 * God: I'm gonna get right on it...

Homeless Man Signs

 * R EWE BLIND
 * LOOK TO YOURSELF
 * LIFE IS JUST
 * THY KINGDUMB COME
 * ALL FOR WON
 * GOD BEE GOOD HONEY
 * Bruce: (with his own sign) WHATEVER HE SAID →
 * ARMAGEDON OUTA HERE

Taglines

 * He's got the power.
 * In Bruce We Trust?
 * If you could be God for one week, what would you do?
 * The guy next door just became the man upstairs.

Cast

 * Jim Carrey - Bruce Nolan
 * Morgan Freeman - God
 * Jennifer Aniston - Grace Connelly
 * Philip Baker Hall - Jack Baylor
 * Catherine Bell - Susan Ortega
 * Lisa Ann Walter - Debbie
 * Steve Carell - Evan Baxter
 * Nora Dunn - Ally Loman
 * Eddie Jemison - Bobby
 * Paul Satterfield - Dallas Coleman
 * Mark Kiely - Fred Donohue
 * Sally Kirkland - Anita Mann
 * Tony Bennett - Himself

title: Bruce Almighty


text:
The Sandlot

The Sandlot is a 1993 film about a boy who moves to a new neighborhood right before the end of his 5th grade school. After meeting some new boys at the local sandlot, he is eventually accepted into their group of baseball-loving friends. When he unknowingly brings a baseball signed by Babe Ruth to the field to play with, he gets them into "the biggest pickle any of them had ever seen".
 * Directed by David M. Evans. Written by Robert Gunter.

The adventure of a lifetime, the summer of their dreams...the dog of their nightmares. taglines

Narrator (adult Smalls)

 * [voiceover] Only one kid in history had ever attempted what Benny was about to...and he got eaten. So we were worried, real worried, even when Benny brought out the secret weapon: Shoes guaranteed to make a kid run faster and jump higher—P.F. Flyers.
 * [voiceover] If it weren't for Benny, I never would have made a single friend that summer, because all those other guys thought I was a lost cause.
 * [voiceover] Benny would've played ball all day, night, rain, sun, tidal wave, whatever. Baseball was the only thing he cared about, but among the other things we did besides baseball, going to the pool is what he tolerated best.
 * [voiceover] We all lived in the neighborhood for a couple of more years—mostly through junior high school—and every summer was as great as could be. But none of them ever came close to that first one. When one guy would move away, we never replaced him on the team with anyone else. We just kept the game going like he was still there.

Babe Ruth

 * Let me tell you something about it, kid. Everybody gets one chance to do something great. Most people hardly ever take the chance, either because they're too scared or because they're unable to recognize it when it spits on their shoes. This is your big chance, and you should never let it go by...
 * Remember, kid, there's heroes and there's legends; heroes get remembered, but legends never die. Follow your heart, kid, and you'll never go wrong.

Dialogue

 * Benny: Man, you think too much! I bet you get straight A's and shit!
 * Smalls: No, I got a B once. Well, actually it was an A minus but it should have been a B.
 * Benny: Man, this is baseball. You'd better stop thinking. Just have fun. I mean, if you were having fun, you would've caught that ball. You ever have a paper route?
 * Smalls: I helped a guy once.
 * Benny: Okay, well, chuck it like you throw paper. When your arm gets here, just let go. Just let go, it just might be easy.
 * [starts to jog away]
 * Smalls: How do I catch it?
 * Benny: Just stand out there and stick your glove out in the air. Let me take care of it.
 * Squints: About time, Benny! My clothes are goin' out of style.
 * Yeah-Yeah: They already are, Squints.
 * Squints: Shut up!

 * Ham: Hey, you want a s'more?
 * Smalls: Some more what?
 * Ham: No, no, you want a s'more?
 * Smalls: I haven't had anything yet. So, how can I have some more of nothing?
 * Ham: [annoyed] You're killin' me, Smalls. These are s'mores stuff, okay? Now, pay attention. First, you take the graham. You stick the chocolate on the graham. Then, you roast the mallow. When the mallow is flamin'...[blows the fire out]...you stick it on the chocolate. Then, you cover it with the other end. Then, you scuff. [takes bite of s'more] Kind of messy, but it's good. Try some.

 * Narrator: Even though none of us had ever seen a Playboy magazine, which we constantly lied about, we figured going to the pool was the next best thing to being there. It wasn't really the pool honeys, like we said; because, if any one of them had come up to any one of us, we'd have just peed our pants. We all went because, well, because Wendy Peffercorn was the lifeguard.
 * Benny: [watching Wendy on the lifeguard chair putting on suntan lotion] Oh, man!
 * Yeah Yeah: Yeah, yeah. Too cool.
 * Timmy: She don't know what she's doing.
 * Tommy: She don't know what she's doing.
 * Benny: Yeah, she does. She knows exactly what she's doing.
 * Squints: I've swum here every summer in my adult life. And every summer, there she is. Lotion. Oiling. Oiling! Lotion. Smiling. Smiling! I can't take this no more!

 * [Squints has just kissed Wendy while she was giving him CPR]
 * Wendy: [offended] Ugh! You little pervert!
 * Timmy: Oh, man, he's in deep shit.
 * [Squints is taken to his feet and is escorted out of the pool by Wendy with his friends following him.]
 * Wendy: And stay out! [Storms back to the pool]
 * [Once out of the pool, another lifeguard throws the Sandlot Kids' clothes out of the pool. Once away Ham and the boys are getting dressed, while Wendy returns to her post as a lifeguard clearly offended by Squints.]
 * Ham: Oh, here's your glasses. Did you plan that?
 * Squints: Of course I did. I've been plannin' it for years.
 * Ham: You guys, he planned that! He knew what he was doing!
 * Smalls: [adult voiceover] Michael "Squints" Palledorous walked a little taller that day and we had to tip our hats to him. He was lucky she hadn't beat the crap out of him. We wouldn't have blamed her. What he'd done was sneaky, rotten, and low...and cool. Not another one among us would have ever, in 1,000,000 years, even for $1,000,000, had the guts to put the move on the lifeguard. He did. He had kissed a woman. And he had kissed her long and good. We got banned from the pool forever that day. But every time we walked by after that, the lifeguard looked down from her tower, right over to Squints, and smiled.

 * Squints: Oh, no!
 * [A snooty rival baseball team called the Tigers, whom the Sandlot kids are enemies with arrive in their uniforms and bicycles.]
 * Phillips: Ah, it's easy when you play with a bunch of rejects and a fat kid, Rodriguez.
 * Benny: Shut your mouth, Phillips!
 * Ham: What'd you say, crap-face?!
 * Phillips: I said, you shouldn't be even allowed to touch a baseball. Except for Rodriguez, you're all an insult to the game.
 * Ham: Come on! We'll take you on, right here, right now! Come on!
 * Sandlot Kids: Yeah!
 * Ham: Yeah, right now!
 * Phillips: We play on a real diamond, Porter. You ain't good enough to lick the dirt off our cleats.
 * Ham: Watch it, jerk!
 * Phillips: Shut up, idiot!
 * Ham: Moron!
 * Phillips: Scab eater!
 * Ham: Butt sniffer!
 * Phillips: Pus licker!
 * Ham: Fart smeller!
 * Bertram: [sniffs] Ahh.
 * Phillips: You eat dog crap for breakfast, geek!
 * Ham: You mix your Wheaties with your mama's toe jam!
 * Sandlot Kids: Yeah!
 * Phillips: You bob for apples in the toilet! And you like it!
 * Ham: You play ball like a girl!
 * [the Sandlot kids gasp as the entire group stands in shocked silence; the Sandlot kids start laughing]
 * Phillips: [shocked smile] What did you say?
 * Ham: You heard me.
 * Phillips: Tomorrow. Noon, at our field. Be there, buffalo-butt breath.
 * Ham: Count on it, pee-drinking crap-face!
 * Kids: Yeah!
 * Phillips: Let's go!
 * [the Tigers ride away, and the Sandlot kids cheer for Ham]
 * Timmy: [to Ham; pats his arm] Good job.
 * Ham: [about the Tigers] Jerks. [scene fades to Ham putting on Umpire mask] PLAY BALL! [puts on umpire mask] Hurry up, batter. It's gonna be a short game, and I gotta get home for lunch. [Pitcher pitches and the batter doesn't even swing] Ha-ha! That's one. [scene cuts to new pitch] [to the batter] You know, if my dog was as ugly as you, I'd shave his butt, and tell him to walk backwards. [scene cuts to new pitch] The heater. Here it comes. I dare ya. [Ham puts the batter off, he swings and misses] Strike three, you're out. [scene cuts to new pitch] Hey. Is that your sister out there in left field, naked? She's naked.
 * Phillips: [gets distracted and misses] Shut up, Porter!
 * Ham: Hey, hey, hey. I'm just trying to start a friendly conversation. Come on. [two seconds later] Think she'll go out with me?

 * Ham: [At bat, having missed Kenny's first pitch] You call that pitching?! [Kenny laughs] This is baseball, not tennis. Give me something to hit!
 * Kenny: All right, Ham. This is my heater! I DARE you to hit it!
 * Ham: You'll be sorry.
 * Kenny: You want the heater? I'll give it to ya. [Pitches the ball to Ham, who hits a home run over the one fence, much to the team's dismay]
 * Ham: Yeah! That's how you do it, Smalls! [Slowly starts to round the bases]
 * Benny: Ham, you idiot! Now we can't play no more!
 * Kenny: Great, you [Throws his glove at Ham] idiot!
 * Ham: [Running past first base, as Timmy also throws his glove at him] It was a heater!
 * Bertram: [Smacks Ham with his glove, alongside Squints and Tommy] Stupid idiot!
 * Ham: Low and outside! Just like I like it. [The team continues to chase after Ham, smacking him with their hats, and pelting him with their gloves, except Benny, who quietly gathers up his gear, and Smalls, who watches in confusion]

 * Smalls: No, you don't understand! That wasn't my ball!
 * Squints: [shocked] What do you mean, that wasn't your ball?
 * Smalls: It was my stepdad's. I stole it from his trophy room. It was a present or something. Somebody gave it to him, but we gotta get it back. He's gonna kill me!
 * Squints: Listen to me, Smalls. This is a matter of life and death. Where did your old man get that ball?
 * Smalls: What? I don't know. Some lady gave it to him. Why? [the Sandlot kids are confused] Yeah, she even signed her name on it. Some lady named... Ruth. Baby Ruth.
 * Everyone else: BABE RUTH??!!
 * [Everyone screams in horror and darts toward the fence]
 * Ham: NO!!!
 * [Everyone rushes back to Smalls screaming after seeing the ball getting taken by The Beast.]
 * Smalls: Hey, guys! What's going on?
 * Kenny: The Beast got it!
 * Timmy: You're dead as a doornail, Smalls.
 * Tommy: You're dead as a doornail, Smalls.
 * Timmy: Smalls, you mean to tell me you went home and swiped a ball that was signed by Babe Ruth, and you brought it out here and actually played with it?!
 * Tommy: And actually played with it?!
 * Smalls: Yeah. Yeah, but I was gonna put it back.
 * Squints: But it was signed by Babe Ruth!
 * Smalls: Yeah. Yeah. You keep telling me that! Who is she?!
 * Ham: [shocked] WHAT?! WHAT?!
 * Kenny: The Sultan of Swat!
 * Bertram: The King of Crash!
 * Timmy: The Colossus of Clout!
 * Tommy: The Colossus of Clout!
 * The Sandlot Kids: Babe Ruth!
 * Ham: [emphatically] The Great Bambino!
 * Smalls: [in shock and horror] Oh, my God! You mean that's the same guy?!
 * Everyone else: Yes!
 * Benny: Smalls, Babe Ruth was the greatest baseball player that ever lived. I mean, people said he was less than a god, but more than a man. Like, Hercules, or something. That ball you just aced to The Beast is worth...well, more than your whole life, man.
 * Smalls: [nauseated] Ohh... I don't feel so good. [collapses to his knees as he's almost about to throw up]
 * The Sandlot Kids: Uh-oh, fan him. Give him air. Give him air. [ they start fanning Smalls to cool him down]
 * Smalls: We gotta get that ball back.

 * [Mr. Mertle confronting Benny and Smalls after they brought back Hercules]
 * Mr. Mertle: Well, first time anybody’s gotten the best of old Hercules. Why didn't you just knock on the door? I'd have gotten it for ya.
 * [the gang attacks and yells at Squints and Bertram mimics Jonas Grumby aka The Skipper's hat whack from Gilligan's Island]
 * Other Sandlot Kids: Squints!
 * Ham: Oh, my God! I can't believe you!
 * Squints: We got the ball back, didn't we?
 * Ham: But we almost got killed!
 * Squints: Didn't we get the ball back? [pushes the others] Just shut up! We got the ball back.

 * Benny Rodriguez: [referring to the chewed-up baseball] That's really nice of you, but that ball really is signed by Babe Ruth.
 * Mr. Mertle: So is this one...with the rest of the 1927 Yankees.

Taglines

 * The adventure of a lifetime, the summer of their dreams...the dog of their nightmares.
 * They're more than a team. They're the best buddies in the entire history of the world.
 * A piece of paradise a half block wide and a whole summer long.
 * You're killing me, Smalls!

Cast

 * Tom Guiry - Scotty Smalls
 * David Mickey Evans - Adult Smalls/Narrator
 * Mike Vitar - Benjamin "Benny" Franklin Rodriguez
 * Patrick Renna - Hamilton "Ham" Porter
 * Chauncey Leopardi - Michael "Squints" Palladorous
 * Marty York - Alan "Yeah-Yeah" McClennan
 * Brandon Quintin Adams - Kenny DeNunez
 * Grant Gelt - Bertram Grover Weeks
 * Shane Obedzinski - Tommy 'Repeat' Timmons
 * Victor DiMattia - Timmy Timmons
 * Denis Leary - Bill
 * Karen Allen - Scotty's mother
 * James Earl Jones - Mr. Mertle
 * Marley Shelton - Wendy Peffercorn
 * Wil Horneff - Phillips
 * Pablo P. Vitar - Older Benny
 * Art La Fleur - Babe Ruth

title: The Sandlot


text:
The Big Heat

The Big Heat is a 1953 American film noir about a cop who takes on the crime syndicate that controls his city after the brutal murder of his beloved wife.
 * Directed by Fritz Lang. Written by Sidney Boehm, based on a Saturday Evening Post serial (later published as a novel) by William P. McGivern.

Somebody's going to pay ...because he forgot to kill me...taglines

Debby Marsh

 * I guess the scar isn't so bad, not if it's only on one side. I can always go through life sideways.

 * (inspecting Bannion's cheap hotel room) "I like this. Early Nothing."

Dialogue

 * Lt. Ted Wilks: It was bad judgment to bother a cop's widow about the love life of her husband.
 * Dave Bannion: Good or bad, it was my judgment.
 * Lt. Ted Wilks: You're missing the point. I'm the one that gets the pressure calls from upstairs. I'm the one that has to explain. You don't keep an office like this very long stepping on a lot of corns.
 * Dave Bannion: You want me to go upstairs and explain?
 * Lt. Ted Wilks: Not you. You're a corn stepper by instinct.

 * Tierney: All any of these dames owe me is a night's work, one night at a time. They come and go like flies.
 * Dave Bannion: [about Lucy Chapman] Only this fly got herself strangled.
 * Tierney: These things, happen, Sergeant. Outside of my place, some of these babes keep pretty shady company. It figures. They know nobody cares much what happens to 'em.
 * Dave Bannion: Where'd she live?
 * Tierney: If I ask for an address, they lie. It's not worth the bother. They're floaters. Not much more than a suitcase full of nothin' between them and the gutter.
 * Dave Bannion: Hey, you know somethin'? You ought to be doin' radio commercials - how to talk a lot and say nothin'.

 * Mike Lagana: You came here to my home about a murder?...This is my home and I don't like dirt tracked into it.
 * Dave Bannion: I see. And I've violated your immaculate home, is that it?
 * Mike Lagana: That's exactly it. And tomorrow morning, I'll see you don't get the chance to do it again.
 * Dave Bannion: What'll you do? Make another phone call? Or have somebody make it for ya?
 * Mike Lagana: I've seen some dummies in my time, but you're in a class by yourself.
 * Dave Bannion: I'm stupid, because I want some answers about a murder, is that it?
 * Mike Lagana: Shut up and get out.
 * Dave Bannion: We don't talk about those things in this house, do we? No, it's too elegant, too respectable. Nice kids - party - painting of Mama up there on the wall. No place for a stinkin' cop! It's only a place for a hoodlum who built this house out of twenty years of corruption and murder. I'm gonna tell you something. You know, you couldn't plant enough flowers around here to kill the smell...Cops have homes too, only sometimes there isn't enough money to pay the rent because a cop gets hounded off the force by your thievin' cockroaches for tryin' to do an honest job. What's the matter? Do you think I live under a rock or something? Your creeps have no compunction about phoning my house, giving me orders, talking to my wife like she was a ... [explodes and beats up Lagana's bodyguard]

 * Katie Bannion: Your big trouble, honey, is that you attack yourself from all sides like Jersey mosquitos. You don't want to quit the department, not for one minute.
 * Dave Bannion: What am I supposed to do? Hold on to my job by just stringin' along, afraid to look to the left or to the right because I might see something that they don't want me to see?
 * Katie Bannion: You do, you're gonna have trouble from me. You just keep leading with your chin and don't you compromise!
 * Dave Bannion: That's what I wanted to hear you say. [He kisses her] Thanks, Inspector.
 * Katie Bannion: Honey?
 * Dave Bannion: Hmm, hmm.
 * Katie Bannion: If I tell you something, you won't laugh.
 * Dave Bannion: I won't laugh.
 * Katie Bannion: I love you.
 * Dave Bannion: You see, I'm not laughing.

 * Vince Stone: Hey, that's nice perfume.
 * Debby Marsh: Something new. It attracts mosquitoes and repels men.
 * Vince Stone: It doesn't work that way with me.
 * Debby Marsh: It's not supposed to.
 * [She gives him a teasing kiss]

 * Dave Bannion: Look, I've had a belly full of the department and Wilks - and you.
 * Gus Burke: You've decided people are all scared rabbits and you spit on 'em...No man's an island, Dave. You can't set yourself against the world and get away with it.

 * Debby Marsh: Most times, it's a lot of fun, expensive fun...He can be a pretty good guy, and then other times he can be - but why kick, you gotta take the bad with the good.
 * Dave Bannion: Is the good good enough?
 * Debby Marsh: Clothes, travel, expensive excitement, what's wrong with that?
 * Dave Bannion: Nothing, if you don't care where his money comes from.
 * Debby Marsh: The main thing is to have the money. I've been rich and I've been poor. Believe me, rich is better.

 * Debby Marsh: I'd just stop the cross-examination. I didn't come up here to talk out of school.
 * Dave Bannion: Why did you come up?
 * Debby Marsh: Well, why don't we call it research or something?
 * Dave Bannion: Or to needle Stone.
 * Debby Marsh: Oh, well, you're about as romantic as a pair of handcuffs. Didn't you ever tell a girl pretty things? You know, she's got hair like the west wind, eyes like limpid pools, skin like velvet...?
 * Dave Bannion: [He turns away from her] I'll put you in a cab.
 * Debby Marsh: Did I say something wrong?
 * Dave Bannion: No.
 * Debby Marsh: I must have broken one of the house rules. Do you really want me to go?
 * Dave Bannion: I wouldn't touch anything of Vince Stone's with a ten foot pole.
 * Debby Marsh: That's a rotten thing to say.

 * Bertha Duncan: Did Mr. Stone send you?
 * Debby Marsh: No. I've been thinking about you and me, how much alike we are. The mink-coated girls.
 * Bertha Duncan: I don't understand you. What are you here for, Miss Marsh?
 * Debby Marsh: Debby - we should use first names, Bertha. We're sisters under the mink.
 * Bertha Duncan: You're not making any sense, Miss Marsh. I'd better call Mr. Stone and have him pick you up. You're not well.
 * Debby Marsh: I never felt better in my life! [shoots Bertha]

Taglines

 * Somebody's going to pay ...because he forgot to kill me...
 * A hard cop and a soft dame!

Cast

 * Glenn Ford — Det. Sgt. Dave Bannion
 * Gloria Grahame — Debby Marsh
 * Lee Marvin — Vince Stone
 * Jeanette Nolan — Bertha Duncan
 * Alexander Scourby — Mike Lagana
 * Jocelyn Brando — Katie Bannion
 * Adam Williams — Larry, the car bomber
 * Kathryn Eames — Bannion's sister-in-law
 * Chris Alcaide — George Rose
 * Peter Whitney — Tierney
 * Willis Bouchey — Lt. Ted Wilks

title: The Big Heat