text:
Max Barry

Max Barry (born 18 March 1973) is an Australian novelist, short-story writer and essayist. His books include Syrup, Jennifer Government, and Company.

Quotes

 * Apparently we’re now in a state where most ads are full of people looking at us in a way that would heat us up down to our toes if it happened in real life, and we don’t think anything of it.
 * October 16, 2005 weblog post

 * When someone thinks, “I liked his last book, I’ll hope this new one is good” and shells out their hard-earned, I fervently want that person to be thrilled.
 * October 8, 2005 weblog post

 * I think this is the first time I’ve altered a book based on what you guys told me. So it’s an occasion! Soon I’ll be putting up polls to choose between plots, and then it’s a short stop to accepting anonymous contributions and stapling them together while I sip margaritas on the deck of a Pacific cruise ship.
 * August 24, 2005 weblog post

 * Someone from the Internet Writing Workshop sent me a link to the Gender Genie, where you paste in a section of text and it uses an algorithm to detect whether the author is male or female. Or, if you’re an author, you can tell whether you’re really nailing your opposite-sex characters. I mean, nailing their dialog.
 * August 8, 2005 weblog post

 * Look, I understand that for a lot of people, the US is superior to their country of residence in myriad ways, but I'm Australian. We have it all: the weather, the beautiful cities, the brand of football that involves neither padding yourself up like Santa Claus nor standing in a line in front of goal and covering your testicles.
 * Great Writing interview[]

 * When it's done with being graceful and poetic, language is meant to communicate, after all.
 * Great Writing interview

 * I feel comfortably qualified to talk about anything, but that's a personal problem and I'm dealing with it.
 * Great Writing interview

 * Corporations! It's like there are these gigantic monsters living among us, and we don't mind that they're monsters because when we look at them they smile and hand us cheeseburgers. That's nuts.
 * Great Writing interview

Syrup (1999)

 * All page numbers are from the hardcover first edition published by Viking ISBN 0-670-88640-8, 1st printing
 * All formatting (except the one ellipsis noted) as in the book

 * Marketing (or mktg, which is what you write when you’re taking lecture notes at two hundred words per minute) is the biggest industry in the world, and it’s invisible. It’s the planet’s largest religion, but the billions who worship it don’t know it. It’s vast, insidious and completely corrupt. Marketing is like LA. It’s like a gorgeous, brainless model in LA. A gorgeous, brainless model on cocaine having sex drinking Perrier in LA. That’s the best way I know how to describe it.
 * Chapter 1, “Me, Me, Me” (p. 5)

 * The first principle of marketing (okay, it’s not the first, but it doesn’t sound nearly as cool to say it’s the third) is this: Perception is reality. You see, a long time ago, some academic came up with the idea that reality doesn’t actually exist. Or at least, if it does, no one can agree what it is. Because of perception. Perception is the filter through which we view the world, and most of the time it’s a handy thing to have: it generalizes the world so we can deduce that a man who wears an Armani suit is rich, or that a man who wears an Armani suit and keeps saying “Isn’t this some Armani suit” is a rich asshole. But perception is a faulty mechanism. Perception is unreliable and easily distracted, subject to a thousand miscues and misinformation…like marketing. If anyone found a way to actually distinguish perception from reality, the entire marketing industry would crumble into the sea overnight.
 * Chapter 1, “Me, Me, Me” (p. 6)

 * To get a good job in marketing, you need to market yourself.
 * Chapter 1, “Me, Me, Me” (p. 7)

 * I note that as in all large corporations that loudly subscribe to equal opportunity and employment based solely on skill, the receptionist is young, female and gorgeous.
 * Chapter 2, “Fukk” (p. 12)

 * mktg case study #2: mktg cola NEVER, NEVER DISCUSS TASTE. TASTE IS 90 PERCENT PSYCHOLOGICAL AND IT DOESN’T SELL COLA; IT’S ROUGHLY A TENTH AS IMPORTANT AS IMAGE. THERE HAVE BEEN STUDIES.
 * Chapter 2, “Fukk” (p. 18)

 * It’s much easier to be incomprehensible than intelligent, and most people can’t spot the difference.
 * Chapter 2, “Fukk” (p. 22)

 * mktg case study #3: mktg shampoo PICK A RANDOM CHEMICAL IN YOUR PRODUCT AND HEAVILY PROMOTE ITS PRESENCE. WHEN YOUR CUSTOMERS SEE “NOW WITH BENZOETHYLHYDRATES!” THEY WILL ASSUME THAT THIS IS A GOOD THING.
 * Chapter 2, “Fukk” (p. 25)

 * I’m very interested in what sort of car she’s driving because I think it will reveal some insight into her personality. After all, I don’t have a car at all, and that reveals plenty about me.
 * Chapter 5, “Buy Now, Pay Later” (p. 47)

 * “White coke?” “It’s a trial product.” “Wow, sounds cool. What does it taste like?” “Coke,” 6 says. “Well, yeah,” I say, “but how is it different to, say, Classic Coke?” “It’s in a different can,” 6 says. I wait, but 6 just looks at me. “What, that’s it?” “No,” she says. “It will also cost twice as much.” She pours herself a Pepsi. “We’re after a more upmarket niche.” “You really expect people to pay double for a white can?” I ask, astounded. “When it tastes exactly the same?” 6 aims a chiseled frown at me. “I didn’t say it tastes exactly the same. I said it is exactly the same.”
 * Chapter 5, “Buy Now, Pay Later” (p. 54)

 * 6 says, “Tina’s doing an arts degree.” “Oh?” I say, as if the eyebrow ring, blond hair with a streak of black and oppressive eye makeup hadn’t tipped me off. “Oh, let me guess,” Tina says. “He’s a marketer.” “Hi,” I say. …“I hope they pay you well for strangling the youth of this country with cultural conformity.”
 * Chapter 5, “Buy Now, Pay Later” (p. 56; ellipsis represents the elision of two sentences of description)

 * There’s nothing more fascinating than a girl who won’t have sex with you.
 * Chapter 5, “Buy Now, Pay Later” (p. 57)

 * “Reversing gender stereotypes doesn’t eliminate them,” 6 says, tossing the bacon. “You just create a whole new set of prejudices.”
 * Chapter 5, “Buy Now, Pay Later” (p. 61)

 * mktg case study #6: mktg cigarettes FOR A PRODUCT THAT KILLS ITS CUSTOMERS, THIS IS PRETTY EASY. FOR ONE THING, YOU ONLY NEED TO CONVINCE PEOPLE TO START BUYING. BUT THE BEST PART IS THAT YOU GET TO DEFEND THE ACT OF SELLING A PRODUCT YOUR CUSTOMERS CAN’T STOP BUYING BY CLAIMING THEY HAVE FREEDOM OF CHOICE. BEFORE EACH MARKETING CAMPAIGN, PRACTICE THE LINE: “IT IS NOT THE POLICY OF OUR COMPANY TO DICTATE THE LIFESTYLE OF OUR CUSTOMERS.”
 * Chapter 5, “Buy Now, Pay Later” (p. 70)

 * mktg case study #8: mktg groceries [2] USE LARGE SPECIAL! TAGS ON GOODS WITHOUT REDUCING THEIR PRICE. PRACTICE THE LINE: “OUR COMPANY FEELS THAT THE WORD SPECIAL IN NO WAY IMPLIES A CONNECTION WITH PRICE.”
 * Chapter 8, “Measurement” (p. 90; the word SPECIAL is underlined in the book)

 * “Look, how about this: just once, don’t assume every person you meet has a personal vendetta against you.” 6 frowns at her drink. “That’s not a sound strategy.”
 * Chapter 8, “Measurement” (p. 92)

 * mktg case study #9: mktg lies OCCASIONALLY, JUST OF COURSE, YOUR COMPANY WILL BE CAUGHT IN A LIE. THIS IS NOT GOOD. IF POSSIBLE, IMMEDIATELY FIRE SOMEONE EXPENDABLE AND PUBLICLY APOLOGIZE. IF NOT, YOU MUST STICK TO THE LIE. PERCEPTION IS REALITY.
 * Chapter 8, “Measurement” (p. 106)

 * I learned pretty early in my career as an agent to be friendly to utter jerks; it’s an essential skill.
 * Chapter 10, “A New Life” (p. 121)

 * “Your problem is that reality isn’t good enough for you.” she says levelly. “You need a fantasy.”
 * Chapter 10, “A New Life” (p. 132)

 * “She’s such a bitch,” Tina says, which I find a little contradictory, but overall quite true. “She’s got to be in charge of everything.” I sit next to her. “Well, I guess. But in business, that’s leadership.” Tina stares at me for a second. “I can’t believe you consider that a positive trait. How about her inability to accept other points of view? Is it good leadership to be narrow, too?” “Focus,” I say. “They call that focus.” Tina stares at me. “Her paranoia?” “Business savvy.” “Compulsive need to have everything just how she wants it?” “Organizational skills.” “Aggressiveness?” “Aggressiveness,” I say, “is already a good thing.” “Jesus Christ,” Tina says, her eyebrow ring glinting in the morning sun. “Sometimes I worry about this country.”
 * Chapter 11, “Hollywood” (pp. 162-163)

 * “Art and marketing can’t coexist,” Tina says. “It’s either one or the other.” “Not this again,” 6 says from the sofa. Tina ignores her. “I made the film for you with the intention of appealing to a bunch of corporate suits. That I used artistic techniques to do it is irrelevant.” “Just because it’s aimed at a particular market means it’s not art?” I say. Tina nods once. “Exactly.” I frown. “What if I take a work of art and market it? It’s still art, right?” “You can’t take artwork and just tweak it to be more commercially appealing.” She sips at her beer. “Not without destroying its artistic merit.” “Tina, this is so crap,” 6 says, standing up. “If I showed you a painting but didn’t tell you whether it was created by a starving artist or an agency commissioned to produce it, you couldn’t tell me whether it was art or not.” “Oh, I think I’d be able to tell,” Tina says. 6 shifts impatiently. “Who cares what the intent was? It’s the result that matters.” “The intent is not divorceable from the result,” Tina says. “I know you people don’t want to face that, but it’s true.” “You don’t want to face the fact that marketing is the greatest producer of art on the planet. There’s packaging, copy, TV advertising—can you tell me why that’s not art?” “If you can’t make that distinction yourself, I won’t be able to explain it to you.” “Oh, right,” 6 says, “you think some hack’s poems that no one ever reads are more important than movie half the world sees? A lot more people have seen a Coke can than a van Gogh.” “I’ve noticed you corporate people do this,” Tina says. “Confuse popularity with quality.” “It’s a democratic society, Tina,” 6 says. “Your opinion of what’s quality is no more valid than mine. Popularity is quality. And so marketers are today’s real artists.” “Drink, anyone?” I say.
 * Chapter 12, “Scat and 6 in Love” (pp. 186-187)

 * The whole morning feels very strange until I realize that for the first time in a long while, 6 and I don’t have anything to do. We have the whole weekend to kill: no deadlines, no last-minute struggles, no panic. It almost feels illegal.
 * Chapter 12, “Scat and 6 in Love” (p. 190)

 * mktg case study #13: mktg magazines GIVE AWAY FREE CRAP (PREFERABLY ADVERTISER-SUPPLIED FREE CRAP). DOESN’T MATTER HOW WORTHLESS OR USELESS IT IS: SALES WILL RISE. STRANGE BUT TRUE.
 * Chapter 12, “Scat and 6 in Love” (p. 191)

 * “It’s all responsibility and no control,” 6 says. “The classic path to failure.”
 * Chapter 13, “Backlash” (p. 204)

 * “You.” He stares at me for a second, then shakes his head. “You told me the truth.” I don’t know what to say. “Yeah.” “Scat,” he says, a pained expression on his face, “haven’t you learned anything?”
 * Chapter 17, “The Premiere” (p. 292)

Jennifer Government (2003)

 * All page numbers are from the hardcover first edition published by Doubleday ISBN 0-385-50759-3, 1st printing
 * Nominated for the 2004 John W. Campbell Memorial Award
 * All italics as in the book

 * "John here," the other John said, "pioneered the concept of marketing by refusing to sell any products. It drives the market insane."
 * Chapter 1, “Nike” (p. 4)

 * "I remember when you could always rely on those little street kids to pop a few people for the latest Nikes," Vice-President John said. "Now people get mugged for Reeboks, for Adidas — for generics, for Christ's sake." "The ghettos have no fashion sense anymore," the other John said. "I swear, they'll wear anything."
 * Chapter 1, “Nike” (p. 5)

 * What’s not fair is that our society rewards selfishness. That’s not fair.
 * Chapter 5, “Wal-Mart” (p. 18)

 * The T-shirt was black with a big NRA logo on the chest: an AK-47 crossed with a burly arm. Underneath, it said: FREEDOM IS AN ASSAULT RIFLE. That was kind of catchy, Billy thought. The NRA was getting hip.
 * Chapter 19, “Billy” (p. 66)

 * The compound was like a mutant Boy Scout camp: all green tents and vehicles and barrels, smack in the middle of nowhere. He saw a troop of soldiers drilling in a field. They reminded him of high school football players with guns. Then a tank rolled past. “Shit! What’s that?” “That is an Abrams M1A battle tank, sir!” Billy looked around with new respect. Now he understood why the NRA membership fees were so high.
 * Chapter 19, “Billy” (p. 66)

 * She was surprised by Dallas’s ugliness. Even with the sun rising behind it, the city looked as if it had been built to withstand bombardment. She’d never seen so much concrete in one place. “What do you think?” Rendell said in the cab. “Nice, huh?” “Where are the trees?” “There are some parks.” He craned his neck. “I think you can see one…” A heavy truck roared alongside them. The cab darkened like it was descending into the earth. Violet put her fingers in her ears. “Past that traffic accident.”
 * Chapter 27, “Dislocation” (p. 97)

 * It was turning into a sly, anti–free market statement, and irony irritated him. There was no place for irony in marketing: it made people want to look for deeper meaning. There was no place in marketing for that, either.
 * Chapter 34, “Competition” (p. 116)

 * The easier your job, the more you got paid. John had suspected this for many years, but here was the proof: pulling down five hundred bucks an hour to sit in the afternoon sun on top of an L.A. office tower. He was wearing a suit and shades, reclining on a deck chair while a light breeze blew in from the bay. John thought he might have found the perfect job.
 * Chapter 40, “Acculturation” (p. 138)

 * "Hey, I saw this old British movie, all the people spoke so different, you could hardly understand them. But everyone here speaks American as good as you and me. What's with that?"
 * Chapter 40, “Acculturation” (p. 144)

 * “We’ll refer the incident to the Government, and they will—” “The Government? The enemy kicks you in the balls and you want to fill out a complaint form? You think the Government’s even on our side?”
 * Chapter 45, “Execution” (p. 165)

 * John said, "You know what makes a successful executive?"
 * "Dude, I am a successful executive."
 * "Decisiveness," he said. The doors slid open. A man in a briefcase was standing there; he raised his eyebrows. John pointed the gun at the man's leg and squeezed the trigger. It was louder than he'd expected.
 * "Holy shit!" the kid said.
 * "Also implementation skills," John said, and left the elevator.
 * Chapter 45, “Execution” (p. 168)

 * Some people would break the rules to get things done and some wouldn't; it was simple as that. John didn't have much use for the latter.
 * Chapter 51, “US Alliance” (p. 190)

 * "By this action, the Government has proved that so long as it exists, none of us are truly free. Government and freedom are mutually exclusive. So if we value freedom, there's only one conclusion. It's time to get rid of this leftover relic we call Government."
 * Chapter 53, “NRA/Ground” (p. 202)

 * The room was dead quiet. “Yes, some people died. But let’s not pretend these are the first people to die in the interests of commerce. Let’s not pretend there’s a company in this room that hasn’t had to under the profit above human life at some point. We make cars we know some people will die in. We make medicine that carries a chance of a fatal reaction. We make guns. I mean, you want to expel someone here for murder, let’s star with the Philip Morris Liaison. We have all, at some time, put a price tag on a human life and decided we can afford it. No one in this room has the right to sit here and pretend my actions came out of the blue.” He took a risk and paused for effect. If the IBM Liaison was going to preach at him, now was his once. But he didn’t. He just sat there. Pussy, John thought. “Look, I am not designing next year’s ad campaign here. I’m getting rid of the Government, the greatest impediment to business in history. You don’t do that without a downside. Yes, some people will die. But look at the gain! Run a cost-benefit analysis! Maybe some of you have forgotten what companies really do. So let me remind you: they make as much money as possible. If they don’t, investors go elsewhere. It’s that simple. We’re all cogs in wealth-creation machines. That’s all. “I’ve given you a world without Government interference. There is now no advertising campaign, no intercompany deal, no promotion, no action you can’t take. You want to pay kids to get the swoosh tattooed on their foreheads? Who’s going to stop you? You want to make computers that need repair after three months? Who’s going to stop you? You want to reward consumers who complain about your competitors in the media? You want to pay them for recruiting their little brothers and sisters to your brand of cigarettes? You want the NRA to help you eliminate your competition? Then do it. Just do it.” Their faces; ah, their faces. They hadn’t seen this coming at all, John realized. He was opening the door to a brave new commercial world and they were transfixed by the pure, golden light of profit spilling from it. “I’m a businessman. That’s all. I just want to do business.”
 * Chapter 58, “John” (pp. 221-222)

 * “Tough day?” General Li said. John sighed. “Just a couple of Liaisons making trouble. Things were much simpler when I didn’t have to listen to other people, Li. Democracy is a pain in the ass.” Li sat. “In the military, we have always had a healthy disrespect for democracy.” “I can see why,” John said. “All right. Now let’s talk about tanks.”
 * Chapter 63, “John” (pp. 238-239)

 * Hack was asleep when the phone rang. It was amazing how much more sleep he got now that he was unemployed. He was starting to feel bad for all the people who had to drag themselves into their drone factories by nine. They didn’t know what they are missing.
 * Chapter 67, “Hack” (p. 255)

 * It was amazing, he thought, how everyone bitched about corporations but no one was willing to risk pissing them off. Hack was disappointed at the level of motivation among this society’s counterculture.
 * Chapter 67, “Hack” (p. 256)

Company (2006)

 * All page numbers are from the hardcover first edition published by Doubleday ISBN 0-385-51439-5, 1st printing
 * All italics as in the book

 * Elizabeth is smart, ruthless, and emotionally damaged; that is, she is a sales representative.
 * Q3/2: August, p. 2

 * On level 14, Elizabeth is falling in love. This is what makes her such a good sales rep, and an emotional basket case: she falls in love with her customers. It is hard to convey just how wretchedly, boot-lickingly draining it is to be a salesperson. Sales is a business of relationships, and you must cultivate customers with tenderness and love, like cabbages in winter, even if the customer is an egomaniacal asshole you want to hit with a shovel. There is something wrong with the kind of person who becomes a sales rep, or if not, there is something wrong after six months.
 * p. 11

 * Like every other department in Zephyr, Training Sales has an open floor plan, which means everyone works in a sprawling cubicle farm except the manager, who has an office with a glass internal wall, across which blinds are permanently drawn. Open-plan seating, it has been explained in company-wide memos, increases teamwork, and boosts productivity. Except in managers, that is, whose productivity tends to be boosted by—and the memos don’t say this, but the conclusion is inescapable—corner offices with excellent views.
 * pp. 13-14

 * How she became manager remains a mystery. But there are only two possibilities. One is that Senior Management mistook her tirades for drive and a commitment to excellence. The other is that they knew Sydney was a paranoid psychopath, and that’s exactly the kind of person they want in management.
 * p. 31

 * He is looking for something called The Omega Management System, which is the latest management fad in a tradition stretching back through Six Sigma and Total Quality Management to the practice of bleeding sick patients and investing in tulips.
 * p. 36

 * People talk about bedroom eyes; well, Megan has the whole suite.
 * p. 40

 * There are stories—legends, really—of the “steady job.” Old-timers gather graduates around the flickering light of a computer monitor and tell stories of how the company used to be, back when a job was for life, not just for the business cycle. In those days, there were dinners for employees who racked up twenty-five years—don’t laugh, you, yes, twenty-five years!—of service. In those days, a man didn’t change jobs every five minutes. When you walked down the corridors, you recognized everyone you met; hell, you knew the names of their kids. The graduates snicker. A steady job! They’ve never heard of such a thing. What they know is the flexible job. It’s what they were raised on in business school; it’s what they experienced, too, as they drove a cash register or stacked shelves between classes. Flexibility is where it’s at, not dull, rigid, monotonous steadiness. Flexible jobs allow employees to share in the company’s ups and downs; well, not so much the ups. But when times get tough, it’s the flexible company that thrives. By comparison, a company with steady jobs hobbles along with a ball and chain. The graduates have read the management textbooks and they know the truth: long-term employees are so last century. The problem with employees, you see, is everything. You have to pay to hire them and pay to fire them, and, in between, you have to pay them. They need business cards. They need computers. They need ID tags and security clearances and phones and air-conditioning and somewhere to sit. You have to ferry them to off-site team meetings. You have to ferry them home again. They get pregnant. They injure themselves. They steal. They join religions with firm views on when it’s permissible to work. When they read their e-mail they open every attachment they get, and when they write it they expose the company to enormous legal liabilities. They arrive with no useful skills, and once you’ve trained them, they leave. And don’t expect gratitude! If they’re not taking sick days, they’re requesting compassionate leave. If they’re not gossiping with co-workers, they’re complaining about them. They consider it their inalienable right to wear body ornamentation that scares customers. They talk about (dear God) unionizing. They want raises. They want management to notice when they do a good job. They want to know what’s going to happen in the next corporate reorganization. And lawsuits! The lawsuits! They sue for sexual harassment, for an unsafe workplace, for discrimination in thirty-two different flavors. For—get this—wrongful termination. Wrongful termination! These people are only here because you brought them into the corporate world! Suddenly you’re responsible for them for life? The truly flexible company—and the textbooks don’t come right out and say it, but the graduates can tell that they want to—doesn’t employ people at all. This is the siren song of outsourcing. The seductiveness of the subcontract. Just try out the words: no employees. Feels good, doesn’t it? Strong. Healthy. Supple. Oh yes, a company without employees would be a wondrous thing. Let the workers suck up a little competitive pressure. Let them get a taste of the free market. The old-timers’ stories are fairy tales, dreams of a world that no longer exists. They rest on the bizarre assumption that people somehow deserve a job. The graduates know better; they’ve been taught that they don’t.
 * pp. 41-43

 * Last month we had to sit through a presentation on eliminating redundancy, and it was a bunch of PowerPoint slides, plus a guy reading out what was on the slides, and then he gave us all hard copies.
 * p. 49

 * You can say this for Senior Management: it knows how to articulate a goal. The strategy may be fuzzy, the execution nonexistent, but Senior Management knows what it wants.
 * p. 54

 * He flips to the section on retrenchment. A sacking, the book says, is one of the most harrowing and stressful events you may ever experience—Jones assumes “you” means the person being sacked until he realizes it’s talking about the manager. According to the book, sackings can be highly destabilizing: workers stop thinking about doing their jobs and start thinking about whether they’ll still have them. It then describes a rage of strategies managers can use to harness that fear and uncertainty and jujitsu-throw it into a motivating factor. What Jones doesn’t find in the book—and he doesn’t notice this at first; he has to flick back and forth—is any mention of the retrenched employees. How they might feel, for example, or what might happen to them afterward. It’s kind of creepy. It’s almost as if once they are sacked, they cease to exist.
 * pp. 55-56

 * “Anyway, my plan. Last week I filed a claim for disability.” “Disability? For what?” “Stupidity.” “Stupidity!” “Think about it. If I’m born stupid, is that my fault? No, I’m just an honest, hardworking Joe, doing my stupid best. And the company can’t sack people who have a disability. It’s a fact.” “Wow. That’s clever.” “Thanks.” He smiles. “See, you just need to know how to work the company.”
 * Q3/3: September, p. 68

 * The departments don’t report the problem because a good manager knows the only reason to call Senior Management, ever, is to deliver good news. People who ring Senior Management with problems do not have much of a future at Zephyr Holdings. Senior Management is not there to hold departmental hands. It is there to dispense stock options.
 * p. 71
 * “Customers are vermin, Mr. Jones. They infect companies with disease.” He says this with complete solemnity. “A company is a system. It is built to perform a relatively small set of actions over and over, as efficiently as possible. The enemy of systems is variation, and customers produce variation. They want special products. They have unique circumstances. They try to place orders with after-sales support and they direct complaints to sales. My proudest accomplishment, and I am being perfectly honest with you here, Mr. Jones, is not the Omega Management System and it associated revenue stream—which, by the way, is extremely lucrative. It is Zephyr. A customer-free company. Listen to that, Mr. Jones. A customer-free company. In the early days, you know, we tried to simulate customers. It was a disaster. Killed the whole project. When we started again, I cut every department that had external customers. It was like shooting a pack of rabid dogs. Now, I’m not claiming Zephyr Holdings is perfect. But we’re getting there, Mr. Jones. We’re getting there.”
 * Q4/1: October, p. 105

 * Someone tried to tell me the other day that the only habitable place in America is California. But I just don’t understand how you could spend your life restricted to summer outfits.
 * p. 108

 * “When someone asks for the ethics tape, we know they’ve already decided to invest. They just want some reassurance so they can feel good about it, too. That’s the thing you learn about values, Jones: they’re what people make up to justify what they did. Did you take business ethics in college?” “Yes.” “They teach you people’s behavior is guided by their values, right? That’s a load of crap. When you watch people like we do, you find out it’s the other way around. Look, I believe in what Alpha does, I really do. But do I worry about whether every little thing we do is ethical? No, because you can rationalize anything as ethical. You talk to a criminal—a tax dodger, a serial killer, a child abuser—and every one of them will justify their actions. They’ll explain to you, totally seriously, why they had to do what they did. Why they’re still good people. That’s the thing: when people talk about the importance of ethics, they never include themselves. The day anyone, anywhere, admits that they personally are unethical, I’ll start taking that whole issue seriously.”
 * pp. 111-112

 * Ninety-five percent of all jobs suck, Jones. That’s why people get paid to do them.
 * p. 112

 * She dabs at her eyes. “Jesus, you nearly killed me.” She takes a deep breath. “Whoo. Okay. Tell me how you justify buying a new pair of shoes.” “What?” “When there are starving people in Africa, what kind of person spends two hundred bucks on shoes? See, once you buy into that paradigm, it’s a bottomless pit. You can never feel good about yourself while there’s anybody in the world poor or hungry, which there always is, Jones, and has been since the dawn of time, so you feel guilty and hypocritical all the time. I’m consistent. I admit I don’t care. You want me to reassure you that Alpha is ethical, but I’m not going to do it, because ethics is bullshit. It’s the spin we put on our lives to justify what we do. I say, be big enough to live without rationalizations.”
 * p. 148

 * The atmosphere of desperate, ignorant terror essential to healthy rumors seeps away, replaced by a silent, wary paranoia. People bunker down, jealously keeping what they know, which is nothing, to themselves.
 * p. 174

 * There are two ways of looking at Senior Management. One is that it’s a tightly integrated team tirelessly pulling together in the service of whatever’s best for the company. The other is that it’s a dog pack of power-hungry egomaniacs who occasionally assist Zephyr as a side effect of their individual campaigns for wealth and status. Nobody believes the tightly knit team theory anymore. Once, a long time ago, it may have been true, but the instant a dog-pack person made it into Senior Management, it was all over. It’s like a fox getting into the chicken house; pretty soon there are only foxes and feathers. If Senior Management ever was ever made up of selfless individuals who put teamwork ahead of self-interest—and this is a big if—they were long ago torn to pieces.
 * pp. 180-181

 * Jones says, “What if we could make the company better? If we could change things…make it a better place to work. I mean, there are so many things we could do.” Holly looks at him blankly. Freddy says, “Jones…you’re still new here People suggest ways to improve the company every day. Their ideas go into the suggestion box in the cafeteria—where the cafeteria was, I mean—and they’re never heard from again, except during all-staff meetings when Senior Management picks out the most useless one and announces a cross-functional team to look into it. A year or two later, when everyone’s forgotten about it, we get an e-mail announcing the implementation of something that bears no resemblance to the initial idea and usually has the opposite effect, and in the annual reports this is used as evidence that the company listens and reacts to its workers. That’s what happens when you try to make Zephyr a better place to work.”
 * Q4/2: November, pp. 208-209

 * The Infrastructure Control manager is a short, muscular man with a dark beard. He is an oddity in Zephyr Holdings: a person who started on the floor and was promoted through hard work. This makes other managers uncomfortable. The idea that you can get ahead through sheer competence, and not politicking, backstabbing, fleeing impending disasters, and clambering on board imminent successes, undermines everything they know.
 * p. 222

 * Sydney feels an affinity with Human Resources. She likes the name, with its not-so-hidden implication that employees are an exploitable resource, like stock or real estate. And not a particularly valuable one, despite that old chestnut about employees being the company’s most important asset. Sydney knows the truth: give the company cash resources, give it strategic partnerships, give it inventory; give it anything but prickly, unreliable, idiosyncratic humans. People are the worst: you can’t stack them, or (easily) relocate them, and you can’t even just leave them alone to accumulate value. That’s why the company requires HR: a department to transform humans into resources.
 * pp. 226-227

 * “What happened to sticking together? What happened to teamwork?” He gives Holly a dirty look. “Hey,” Holly says. “You know what Roger told me? He said there’s no such thing as teamwork. It’s a con. The company doesn’t promote teams. If you want to get ahead you have to screw everybody else and look after yourself. Co-workers are competitors. Roger told me the truth: there’s no I in team, but there’s no U, either!”
 * p. 237

 * The only thing more amazing than the catalog of brutal methods the company uses to demean its workers is that it thinks it’s helping. Not that the employees are going to say this. Positive feedback is taken very seriously, often ending up in annual reports, but negative feedback leads to HR investigations into employee attitude problems.
 * Q4/3: December, p. 273

 * Mona says bravely, “I can’t see how this will work. You can’t abolish Senior Management. Zephyr isn’t a democracy. It’s a corporation.” “I believe,” Klausman says, “that Jones is advancing the theory that those two concepts are not mutually exclusive.”
 * p. 289

 * Senior Management may have been incompetent; it may have been corrupt; it was certainly full of assholes—but they were their incompetent, corrupt assholes.
 * p. 294

 * There’s no requirement that jobs be meaningful, Jones. If there was, half the country would be unemployed.
 * April, p. 334

 * But what can I say? That’s how business works. Nobody gives a crap about ethics. That’s why people like me will always be successful.
 * p. 335

title: Max Barry


text:
ALF (TV series)

 * Seasons: 1 2 3 4 | Main

ALF is an American sitcom that aired on NBC. The title character is Gordon Shumway, a sarcastic, friendly extraterrestrial nicknamed ALF (an acronym for Alien Life Form), who crash-lands in the garage of the suburban middle-class Tanner family.

Seasons

 * Season 1
 * Season 2
 * Season 3
 * Season 4

Cast

 * Paul Fusco – ALF (puppeteer, voice)
 * Lisa Buckley – ALF (assistant puppeteer)
 * Bob Fappiano – ALF (assistant puppeteer)
 * Max Wright – Willie Tanner
 * Anne Schedeen – Kate Tanner
 * Andrea Elson – Lynn Tanner
 * Benji Gregory – Brian Tanner

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

title: ALF (TV series)


text:
Teenage Mutant Ninja Turtles

Teenage Mutant Ninja Turtles (TMNT) are a group of anthropomorphic turtles originated in comic books. TMNT franchises include:

Comics

 * Mirage
 * Archie

Films

 * 1990 movie
 * Teenage Mutant Ninja Turtles II: The Secret of the Ooze (1991)
 * Teenage Mutant Ninja Turtles III (1993)
 * TMNT (2007)
 * Turtles Forever (2009)
 * 2014 remake
 * Out of the Shadows (2016)
 * Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)
 * [[Teenage Mutant Ninja Turtles (1987 TV series)|Teenage Mutant Ninja Turtles 87 (TBA; Lionsgate+/Lionsgate/Artisan Entertainment (as F•H•E Pictures)/Image Movers Digital/Monkeypaw Productions)

TV series

 * 1987 cartoon
 * Ninja Turtles: The Next Mutation (1997)
 * 2003 show
 * (Tales of the) Teenage Mutant Ninja Turtles
 * Rise of the Teenage Mutant Ninja Turtles (2018)
 * Teenage Mutant Ninja Turtles 2 (TBA; Lionsgate)

Quotes

 * I have always found that accidental, somewhat random series of events culminating in the creation of the TMNT to be a significant part of the charm of the story.
 * Peter Liard, "Exclusive TMNT Co Creator Peter Liard Shares Thoughts", Comicbookmovie.com (4/7/2014)

title: Teenage Mutant Ninja Turtles


text:
Harry Secombe

Sir Harry Donald Secombe, CBE (8 September 1921 – 11 April 2001) was a Welsh comedian, actor and singer, most famous for his role as Neddy Seagoon, the pivotal character in The Goon Show.

Quotes

 * We are with you sir!
 * to General Montgomery in North Africa during WWII. Montgomery was standing on the back of a truck making one of his rousing speeches to the troops before they went into battle against the Axis forces. At some point his gaze fell on Harry Secombe who was standing at the front. Harry was a Bombardier in the Artillery, covered in boils, had his glasses broken in several places and put back together with sticky tape, and wore an ill fitting uniform for his rotund shape. Montgomery's speech ground to an awkward silence as he examined his soldier who was beaming up at him. With a huge grin and a salute, Harry filled the void with a cry of "We are with you sir!", to which the troops cheered and Montgomery replied "um, good", before continuing

 * I suffer fools gladly because I am one of them.
 * My voice is not so much 'bel canto' as 'can belto'.

 * Anyone who, for 25 years, has built a career on such tenuous foundations as a high-pitched giggle, a raspberry and a sprinkling of top 'Cs' needs all the friends he can get.

title: Harry Secombe


text:
Ian Fleming

Ian Lancaster Fleming (28 May 1908 – 12 August 1964) was a British author and journalist who created the character of James Bond and chronicled his adventures in twelve novels and two short story collections. The children's story Chitty-Chitty-Bang-Bang and two non-fiction books are among his other works. During the Second World War, Fleming served in the Naval Intelligence Division and, as part of his appointment, was commissioned into the Royal Naval Volunteer Reserve, rising to the rank of commander.
 * See also:
 * James Bond (film series)
 * Chitty Chitty Bang Bang (1968 film)

Quotes

 * [In Goldfinger, Pussy Galore] only needed the right man to come along and perform the laying on of hands in order to cure her psycho-pathological malady.
 * Quoted in "Ian Fleming: Pussy Galore was a lesbian... and Bond cured her", The Guardian (4 November 2015)
 * In response to a (23 June 1959) letter from a Dr Gibson who had written in a previous letter: "although not a psycho-pathologist, I think it is slightly naughty of you to change a criminal Lesbian into a clinging honey-bun (to be bottled by Bond) in the last chapter." The letter is included in The Man with the Golden Typewriter: Ian Fleming's James Bond Letters (Bloomsbury, 2015)

Casino Royale (1953)

 * The scent and smoke and sweat of a casino are nauseating at three in the morning. Then the soul erosion produced by high gambling — a compost of greed and fear and nervous tension — becomes unbearable and the senses awake and revolt from it.
 * Opening line, Ch. 1 : The Secret Agent

 * Against the background of this luminous and sparkling stage Bond stood in the sunshine and felt his mission to be incongruous and remote and his dark profession an affront to his fellow actors.
 * Ch. 5 : The Girl From Headquarters

 * Bond insisted ordering Leiter's Haig-and-Haig "on the rocks" and then he looked carefully at the barman. "A Dry Martini", he said. "One. In a deep champagne goblet." "Oui, monsieur." "Just a moment. Three measures of Gordons, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice-cold, then add a large thin slice of lemon peel. Got it?" "Certainly, monsieur." The barman seemed pleased with the idea.
 * Ch. 7 : Rouge et Noir

 * I take a ridiculous pleasure in what I eat and drink. It come partly from being a bachelor, but mostly from a habit of taking a lot of trouble over details. It's very pernickety and oldmaidish really, but then when I'm working I generally have to eat my meals alone and it makes them more interesting when one takes trouble.
 * Ch. 8 : Pink Lights And Champagne

 * This country-right-or-wrong business is getting a little out-of-date. Today we are fighting Communism. Okay. If I’d been alive fifty years ago, the brand of Conservatism we have today would have been damn near called Communism and we should have been told to go and fight that. History is moving pretty quickly these days and the heroes and villains keep on changing parts.
 * Ch. 20 : The Nature Of Evil

‘So,’ continued Bond, warming to his argument, ‘Le Chiffre was serving a wonderful purpose, a really vital purpose, perhaps the best and highest purpose of all. By his evil existence, which foolishly I have helped to destroy, he was creating a norm of badness by which, and by which alone, an opposite norm of goodness could exist. We were privileged, in our short knowledge of him, to see and estimate his wickedness and we emerge from the acquaintanceship better and more virtuous men.'
 * 'I’m wondering whose side I ought to be on. I’m getting very sorry for the Devil and his disciples such as the good Le Chiffre. The Devil has a rotten time and I always like to be on the side of the underdog. We don’t give the poor chap a chance. There’s a Good Book about goodness and how to be good and so forth, but there’s no Evil Book about evil and how to be bad. The Devil has no prophets to write his Ten Commandments and no team of authors to write his biography. His case has gone completely by default. We know nothing about him but a lot of fairy stories from our parents and schoolmasters. He has no book from which we can learn the nature of evil in all its forms, with parables about evil people, proverbs about evil people, folk-lore about evil people. All we have is the living example of the people who are least good, or our own intuition.
 * Ch. 20 : The Nature Of Evil

He laughed. "But don't let me down and become human yourself. We would lose a wonderful machine."
 * "Surround yourself with human beings, my dear James. They are easier to fight for than principles."
 * Ch. 20 : The Nature Of Evil

 * It was the same with the whole Russian machine. Fear was the impulse. For them it was always safer to advance than retreat. Advance against the enemy and the bullet might miss you. Retreat, evade, betray and the bullet would never miss.
 * Ch. 27 : The Bleeding Heart

 * The bitch is dead now.
 * Closing line, Ch. 27 : The Bleeding Heart

Live and Let Die (1954)

 * He sat down next door in the seat she had left and watched the grim suburbs of Philadelphia showing their sores, like beggars, to the rich train.
 * Ch. 10

 * He disagreed with something that ate him.
 * Ch. 14

From Russia with Love (1957)

 * It was a dark, clean-cut face, with a three-inch scar showing whitely down the sunburned skin of the right cheek. The eyes were wide and level under straight, rather long black brows. The hair was black, parted on the left, and carelessly brushed so that a thick black comma fell down over the right eyebrow. The longish straight nose ran down to a short upper lip below which was a wide and finely drawn but cruel mouth. The line of jaw was straight and firm. A section of dark suit, white shirt and black knitted tie completed the picture.
 * Ch. 6 : Death Warrant

 * Just as, in at least one religion, accidie is the first of the cardinal sins, so boredom, and particularly the incredible circumstance of waking up bored, was the only vice Bond utterly condemned.
 * Ch. 11 : The Soft Life

 * Those whom the Gods wish to destroy, they first make bored.
 * Ch. 11 : The Soft Life

Dr. No (1958)

 * And I would like a medium Vodka dry Martini — with a slice of lemon peel. Shaken and not stirred, please. I would prefer Russian or Polish vodka.
 * James Bond, in Ch. 15 : Pandora’s Box

 * Doctor No said, in the same soft resonant voice, ‘You are right. Mister Bond. That is just what I am, a maniac. All the greatest men are maniacs. They are possessed by a mania which drives them forward towards their goal. The great scientists, the artists, the philosophers, the religious leaders – all maniacs. What else but a blind singleness of purpose could have given focus to their genius, would have kept them in the groove of their purpose? Mania, my dear Mister Bond, is as priceless as genius. Dissipation of energy, fragmentation of vision, loss of momentum, the lack of follow-through — these are the vices of the herd.’ Doctor No sat slightly back in his chair. ‘I do not possess these vices. I am, as you correctly say, a maniac – a maniac, Mister Bond, with a mania for power. That’ – the black holes glittered blankly at Bond through the contact lenses – ‘is the meaning of my life. That is why I am here. That is why you are here. That is why here exists.’
 * Dr. Julius No, in Ch. 15 : Pandora’s Box

Goldfinger (1959)

 * The difference between a good golf shot and a bad one is the same difference between a beautiful and a plain woman — a matter of millimetres.
 * Ch. 8 : All To Play For

 * Mr. Bond, they have a saying in Chicago: Once is happenstance. Twice is coincidence. The third time it’s enemy action.
 * Auric Goldfinger, Ch. 14 : Things That Go Thump In The Night

You Only Live Twice (1964)
Once when you are born And once when you look death in the face.'''
 * '''You only live twice:
 * Ch. 11 : Anatomy Class

 * I shall not waste my days in trying to prolong them. I shall use my time.
 * Ch. 21 : Obit

Chitty-Chitty-Bang-Bang (1964)

 * Chitty-Chitty-Bang-Bang: The Magical Car

But some motorcars — mine, for instance, and perhaps yours — are different. If you get to like them and understand them, if you are kind to them and don't scratch their paint and bang their doors, if you fill them up and pump them up when they need it, of you keep them clean and polish and out the rain and snow as much as possible, you will find, you MAY find, that they become almost like persons — MORE than just ordinary persons — MAGICAL PERSONS!!!
 * Most motor-cars are conglomerations (this is a long word for bundles) of steel and wire and rubber and plastic, and electricity and oil and petrol and water, and the toffee papers you pushed down the crack in the back seat last Sunday. Smoke comes out of the back of them and horn-squawks out of the front, and they have white lights like big eyes in front, and red lights behind. And that is about that — just motor-cars, tin boxes on wheels for running about in.
 * Ch. 1

 * Never say ‘no’ to adventures. Always say ‘yes’, otherwise you’ll lead a very dull life.
 * Ch. 2

title: Ian Fleming


text:
User:Stellertony

My Info
I'm a student at Steller Secondary School in Anchorage, Alaska. I'm a member of the Anchorage Youth Court and the Alaska Teen Media Institute. I also work with GLSEN and the National Youth Advocacy Coalition. My edits usually involve articles I have created or articles regarding things around me (such as Anchorage, Alaska). However, if I see mistakes as I'm browsing, I'll fix them - and occasionally I'll join the New Pages Patrol.

Stellertony 18:35, 22 December 2006 (UTC)

Licensing Information
These licenses apply to my contributions in all Wikimedia projects.

title: User:Stellertony


text: Template:MultiLicenseWithCC-ByNCSA

title: Template:MultiLicenseWithCC-ByNCSA


text:
Category:Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Dual License

To make your contributions available under this license, use the template  . See the Multi-licensing guide for more information.

Note: ''Many users use this license in a restricted fashion. Check their pages for more information.''


text: Template:WikimediaTextLicensing

title: Template:WikimediaTextLicensing


text:
Talk:Tami Stronach

I WOULD LIKE TO NOW ABOUT TAMI STRONACH. mY EMAIL IS: jahernandezmora@coitt.es SPAIN!

title: Talk:Tami Stronach


text:
User talk:222.95.26.16

This IP has been blocked from editing at Wikiquote because it has been used by a persistent vandal to post unwanted commercial advertisements here. Wikiquote is a non-profit, non-commercial, public service site, not a place for gratuitous advertising. If you are not this vandal, you can notify your Internet service provider of this activity, so that this violation of ethical standards, internet etiquette, and in some places the legal statutes can be addressed by the proper authorities. If you are this vandal and this behavior persists much longer, notifications can be sent to the contacts available to the Internet service providers at the "CHINANET jiangsu province network" and complaints to abuse@jsinfo.net. If this behavior ends, no notice will be sent to any ISP by me, and after a period of two weeks these notices that have been posted here will be removed. ~ Kalki

title: User talk:222.95.26.16


text:
Daniel J. Bernstein

Daniel J. Bernstein (born October 29, 1971) (known among users of his software and members of his mailing lists as simply "djb") is a professor at the University of Illinois at Chicago, a mathematician, a cryptologist, and a programmer, noted as the author of the computer software qmail and djbdns.

 * "The great thing about attackers is that there are so many to choose from!"

On testing

 * "Of course, the test difficulty depends on what you're doing, and on how you're doing it. I'm constantly asking "How much would I have to screw this up to write an incorrect function that passes these simple tests?"  Occasionally the answer is "Not much," so I'll throw the code away and  start over. It was probably perfect code, but that's not good enough."
 * "I often see people saying 'Nobody has produced an invulnerable software system; therefore, nobody will ever produce an invulnerable software system.' "By the same bogus reasoning, nobody will ever reach Mars; nobody will ever find MD5 collisions; nobody will ever cure cancer; nobody will ever prove the Poincare conjecture; nobody will ever clone a human; nobody will ever build a 1GHz CPU; nobody will ever find SHA-1 collisions; nobody will ever break the sound barrier; etc." (15 January 2005)
 * "So it's tempting to incorporate a smaller resolver library into qmail. [...] I'd no longer be able to blame the BIND authors and vendors for the fact that attackers can easily use DNS to steal mail." [From the file "THOUGHTS" of the qmail distribution]

title: Daniel J. Bernstein


text:
Halo (series)

Halo is a series of first-person shooter video games available for the PC and Xbox family of consoles.

The games depict the last survivor of a group of supersoldiers inside of a powered exoskeleton in an interstellar war between human space marines and the technologically superior devoutly religious collective of alien species engaged in religious war against them, often set on one of the series of mysterious astronomically engineered megastructures for which the series is named.

Games

 * Halo: Combat Evolved (2001)
 * Halo: Reach (2010)
 * Halo 2 (2004)
 * Halo 3 (2007)
 * Halo 3: ODST (2009)
 * Halo 4 (2012)
 * Halo 5: Guardians (2015)

About Halo

 * The guns on the [Halo 1] Ghost were balanced by making them really inaccurate. If you aim at something in Halo 1 with the Ghost and shoot at it, your shots are going all over the place. That balances the weapon, because it’s not overpowered. But it wasn’t balanced in a way that was empowering for the player. “I think one of the ways that I describe that is that every object, every player-facing verb, needs to be a power fantasy in some way. And so the Ghost was correctly balanced numerically, but it wasn’t that fun. It didn’t make you feel awesome. It wasn’t something you jumped on and thought you were going to tear the place up with.
 * I think the great tragedy of Halo is that for years and years it provided wonderful single-player and co-op content, and we provided people with almost no fun incentives or excuses, almost no reason besides their own enjoyment, to go back and replay it. So Halo 1 built these 10 labor of love missions, and only if you decided to go back and replay them was there any incentive to do so.
 * Jason Jones, "BUNGIE CO-FOUNDER, HALO AND DESTINY CREATOR JASON JONES BREAKS 11-YEAR SILENCE" by Ryan McCaffrey, IGN, (8 July, 2013).

 * Somewhat ironically, Halo began from a strategic position, rather than being mapped from the outset as a shooter. The project evolved spiritually as a kind of outcropping from the clotted battlefields of Bungie’s 1997 tactical game Myth, trading a Braveheart aesthetic for more of a Starship Troopers vibe, and then rendering everything in anthill 3D. Even as a primitive vehicular prototype, emphasizing the physicality of the terrain, there wasn’t really anything that looked quite like it.
 * Bungie followed the unlikely lead of Argonaut Games’ Alien Resurrection, which mapped moving and aiming onto separate analog sticks over a year before the Xbox launched. That precedent aside, though, the Bellevue-based studio set the standards for the modern shooter genre almost singlehandedly.
 * Steve Haske, “The Complete, Untold History of Halo”, VICE, (May 30 2017).

 * The Halo series is, obviously, not an allegory for America’s involvement in Iraq, or the war on terror, where America is the UNSC, the Covenant is radical Islam, and the Brutes and Elites are the Sunni and the Shi’a (or vice versa, it would be idiotic and wrong to try to map one onto the other anyway). It’s a ridiculous idea that breaks down in any number of flagrant ways. Obviously the first Halo came out long before we invaded Iraq, and was conceived and planned even further back (I think it came out November 2001). And unlike the Iraqi insurgents, the Covenant have, or at least had, technological superiority, and they don’t go in for terrorist tactics — they’re toe-to-toe fighters. And they’re aliens. And they’re obsessed with purple things. And on and on.
 * Lev Grossman, "Is Halo 3 a Geopolitical Allegory?", TIME, (Sept. 26, 2007).

title: Halo (series)


text:
User talk:165.236.139.81

I am assuming you are probably trying out wikiquote, and accidentally erased some of my User page. Please do not edit other's User pages. You can leave messages on a user's talk pages if you wish. ~ Kalki 19:29, 16 Dec 2004 (UTC)

title: User talk:165.236.139.81


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Wikiquote:Votes for deletion archive

This is an archive of topics that were previously on the Votes for deletion page.

= Kept articles =

The votes on these articles resulted either in keeping them intact or moving them to more appropriate locations, keeping a redirect in place.

Jacqueline

 * See Sharmell.

=Deleted articles 0-D=

The votes on these main namespace articles resulted in their deletion.

20th Century Fox & Paramount: The Curse of the Imagine Entertainment
See.

Alayna Rakes
See.

Alice Deejay
See 4 Strings.

BT
See 4 Strings.

= Deleted articles E-H =

= Deleted articles I-K =

=Deleted articles L-P=

Lions
See 4 Strings.

Midnight
See Sharmell.

NFL Quotations
See 4 Strings.

Pranks
See 4 Strings.

=Deleted articles Q-S=

Sister Sherri
See Sharmell.

=Deleted articles T-Z, non-latin characters=

=Deleted pages=

Category:Amerindians
See.

= Deleted images =

=Pending deletion= The votes on these articles were for deletion, but are still awaiting actual deletion by sysops.

title: Wikiquote:Votes for deletion archive


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User talk:213.107.224.13

Thanks for experimenting with Wikiquote. Your test worked, and has now been reverted or removed. Please use Sandbox for any other tests you want to do, since testing in articles will normally be reverted quickly. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. For a quick overview of what Wikiquote is, read Wikiquote, and also What Wikiquote is not for a list of common activities that Wikiquote does not support. —This unsigned comment is by 130.15.162.15 (talk • contribs) 21:28, 16 December 2004 (UTC).

title: User talk:213.107.224.13


text:
Template:Test

Thanks for experimenting with Wikiquote. Your test worked, and has now been reverted or removed. Please use Sandbox for any other tests you want to do, since testing in articles will normally be reverted quickly. Please see the welcome page if you would like to learn more about contributing to our compendium of quotations. For a quick overview of what Wikiquote is, read Wikiquote, and also What Wikiquote is not for a list of common activities that Wikiquote does not support.

title: Template:Test


text:
Talk:Lost (TV series)

Formatting guidelines
NOTE: these guidelines are adapted, in many cases word-for-word, from those created for Buffy the Vampire Slayer.

To add a quote, find the episode it occurs in and copy the formatting of an existing quote to your own needs. If you don't know what episode your quote appeared in, place it in the Unknown episode section, and someone will move it as time permits.

The basic formatting guidelines are as follows, using this example:

 * :Shannon: The ocean's full of fish.
 * :Boone: Hate to break it to you. The ocean's not gonna take your gold card.

When added to the page, the result looks like this:
 * The colon indents the quote.
 * The triple apostrophes ( ''' ) surrounding the character name make the name bold.
 * The double brackets make the character name a Wiki link, so you can click on the character for more information.
 * The expression "w:Character's FullName|" makes it a link to Wikipedia, where the major Lost characters have entries (see below for list of characters).
 * Don't put any blank lines between lines within a single dialog quote, but make sure there's a blank line between separate quotes.

 * Shannon: The ocean's full of fish.
 * Boone: Hate to break it to you. The ocean's not gonna take your gold card.

Only put Wiki links around the first occurrence of each character in an episode (to save time and headaches). If all this formatting is too much for your to bother with, just use a simplified version:

 * :Shannon: The ocean's full of fish.
 * :Boone: Hate to break it to you. The ocean's not gonna take your gold card.

Just try to remember the initial colon and the blank line between different quotes. Sooner or later, someone will likely come along and pretty it up. --RPickman 05:26, 18 October 2005 (UTC)

Character list
Here is a set of preformatted character names that, if you paste it into your quotes, will provide full formatting and linking abilities, including disambiguation for common names.

 * Major Characters [i.e. characters who have their own wikipedia entries]
 * :Jack
 * :Kate
 * :Sawyer
 * :Sayid
 * :Locke
 * :Charlie
 * :Michael
 * :Walt
 * :Boone
 * :Shannon
 * :Jin
 * :Sun
 * :Hurley
 * :Claire
 * :Ana Lucia
 * :Mr. Eko
 * :Libby
 * :Desmond
 * :Ben
 * :Juliet
 * :Paulo
 * :Nikki
 * :Rose
 * :Bernard
 * :Richard
 * :Juliet
 * :Faraday
 * :Ilana
 * :Charlotte
 * :Miles

Section breaks
A half-line is used to separate sections of dialogue; this is clearer than simply leaving one line blank, and distinct from the full-length line that marks the beginning of a new episode. It's done like so:

 *

The result looks like this:

title: Talk:Lost (TV series)


text:
André Malraux

André Georges Malraux (November 3 1901 – November 23, 1976) was a French novelist, adventurer, art historian and statesman. He served as Minister for Cultural Affairs from 1958 to 1969.

Quotes

 * No one can endure his own solitude.
 * Author's commentary, serialized version of La condition humaine in the Nouvelle revue française (1933)

 * The human mind invents its Puss-in-Boots and its coaches that change into pumpkins at midnight because neither the believer nor the atheist is completely satisfied with appearances.
 * Antimémoires, preface (1967)

 * What is man? A miserable little pile of secrets.
 * Antimémoires, preface (1967)
 * This preface paraphrases a line of dialogue from his own earlier work: "A man is what he hides: a miserable little pile of secrets." ("L'homme est ce qu'il cache : un misérable petit tas de secrets.") Les Noyers de l'Altenburg (1943)

 * Our civilization … is not devaluing its awareness of the unknowable; nor is it deifying it. It is the first civilization that has severed it from religion and superstition. In order to question it.
 * Picasso's Mask (1976)

 * Chanel, General De Gaulle and Picasso are the three most important figures of our time.
 * As quoted in Paris, Paris : Journey Into the City of Light (2005) by David Downie, p. 87

 * The artist is not the transcriber of the world, he is its rival.
 * L'Intemporel

 * On this earth of ours where everything is subject to the passing of time, one thing only is both subject to time and yet victorious over it: the work of art.
 * André Malraux, TV program: Promenades imaginaires dans Florence, 1975.

 * On peut aimer que le sens du mot “art” soit tenter de donner conscience à des hommes de la grandeur qu’ils ignorent en eux.
 * André Malraux, Préface du Temps du mépris (1935), Malraux citations sur www.fondationandremalraux.org

 * The West regards as truth what the Hindu regards as appearance (for if human life, in the age of Christendom, was doubtless an ordeal it was certainly truth and not illusion), and the Westerner can regard knowledge of the the universe as the supreme value, while for the Hindu the supreme value is accession to the divine Absolute.... But the most profound difference is based on the fact that the fundamental reality for the West, Christian or athiest, is death, in whatever sense it may be interpreted --- while the fundamental reality for India is the endlessness of life in the endlessness of time: Who can kill immortality?
 * As attributed and quoted in Londhe, S. (2008). A tribute to Hinduism: Thoughts and wisdom spanning continents and time about India and her culture. New Delhi: Pragun Publication.

La condition humaine [Man's Fate] (1933)

 * If a man is not ready to risk his life, where is his dignity?

 * The great mystery is not that we should have been thrown down here at random between the profusion of matter and that of the stars; it is that from our very prison we should draw, from our own selves, images powerful enough to deny our own nothingness.

 * The attempt to force human beings to despise themselves… is what I call hell.
 * Section 2

 * "Why do you fight?" ... He kept his wife, his kid, from dying. That was nothing. Less than nothing. If he had had money, if he could have left it to them, he would have been free to go and get killed. As if the universe had not treated him all his life with kicks in the belly, it now despoiled him of the only dignity he could ever possess — his death.

 * The sons of torture victims make good terrorists.

 * La liberté n'est pas un échange, c'est la liberté.
 * Freedom is not an exchange — it is freedom.

L'espoir [Man's Hope] (1938)

 * One cannot create an art that speaks to me when one has nothing to say.

 * Il n'y a pas cinquante manières de combattre, il n'y en a qu'une, c'est d'être vainqueur. Ni la révolution ni la guerre ne consistent à se plaire à soi-même.
 * There are not fifty ways of fighting, there is only one, and that is to win. Neither revolution nor war consists in doing what one pleases.
 * Part 2, Section 2, Chapter 12

Les voix du silence [Voices of Silence] (1951)

 * Could we bring ourselves to feel what the first spectators of an Egyptian statue, or a Romanesque crucifixion, felt, we would make haste to remove them from the Louvre. True, we are trying more and more to gauge the feelings of those first spectators, but without forgetting our own, and we can be contented all the more easily with the mere knowledge of the former, without experiencing them, because all we wish to do is put this knowledge to the work of art.
 * Part I, Chapter III

 * A large share of our art heritage is now derived from peoples whose idea of art was quite other than ours, and even from peoples to whom the very idea of art meant nothing.
 * Part I, Chapter V

 * Though man's feeling for the other-worldly often has recourse to solitude, solitude does not foster its development; rather, it is nourished by communion, to which the church is more propitious than the cemetery.
 * Part II, Chapter III

 * The ordinary man puts up a struggle against all that is not himself, whereas it is against himself, in a limited but all-essential field, that the artist has to battle.
 * Part III, Chapter III

 * The present age delights in unearthing a great man's secrets; for one thing because we like to temper our admiration and also perhaps we have a vague hope of finding a clue to genius in such "revelations."
 * Part III, Chapter VI

 * If modern painters feel qualms about applying the term "masterpiece" to describe a work of capital importance, this is because it has come to convey a notion of perfection: a notion that leads to much confusion when applied to artists other than those who made perfection their ideal.
 * Part III, Chapter VI

 * Once the masterpiece has emerged, the lesser works surrounding it fall into place; and it then gives the impression of having been led up to and foreseeable, though actually it is inconceivable — or, rather, it can only be conceived of once it is there for us to see it. It is not a scene that has come alive, but a latent potentiality that has materialized. Suppose that one of the world's masterpieces were to disappear, leaving no trace behind it, not even a reproduction; even the completest knowledge of its maker's other works would not enable the next generation to visualize it. All the rest of Leonardo's oeuvre would not enable us to visualize the Mona Lisa; all Rembrandt's, the Three Crosses or The Prodigal Son; all Vermeer's, The Love Letter; all Titian's, the Venice Pietà; all medieval sculpture, the Chartres Kings or the Naumburg Uta. What would another picture by the Master of Villeneuve look like?  How could even the most careful study of The Embarkation for Cythera, or indeed that of all Watteau's other works conjure up L'Enseigne de Gersaint, had it disappeared?
 * Part III, Chapter VI

 * Athirst for personal salvation, the West forgets that many religions had but a vague notion of the life beyond the grave; true, all great religions stake a claim on eternity, but not necessarily on man's eternal life.
 * Part IV, Chapter I

 * Surely that little pseudo-gothic church on Broadway, hidden amongst the skyscrapers, is symbolic of the age! On the whole face of the globe the civilization that has conquered it has failed to build a temple or a tomb.
 * Part IV, Chapter I

 * An individualism which has got beyond the stage of hedonism tends to yield to the lure of the grandiose. It was not man, the individual, nor even the Supreme Being, that Robespierre set up against Christ; it was that Leviathan, the Nation.
 * Part IV, Chapter I

 * Each form of the sacrosanct was regarded by members of the culture which gave rise to it as a revelation of the Truth; at Byzantium it was not a mere hypothesis that was sponsored by the majesty of the Byzantine style. To us, however, these forms make their appeal as forms alone — in other words, as they would be were they the work of a contemporary (and, since this actually is unthinkable, they affect us in a puzzling manner); or else as so many grandiose vestiges of a faith that has died out. We look at them from outside; they are still emotive, but they are no longer true. Thus we deprive them of what was their most vital element; for a religious civilization that regarded what it revered as a mere hypothesis is inconceivable.
 * Part IV, Chapter V

 * The great Christian art did not die because all possible forms had been used up; it died because faith was being transformed into piety. Now, the same conquest of the outside world that brought in our modern individualism, so different from that of the Renaissance, is by way of relativizing the individual. It is plain to see that man's faculty of transformation, which began by a remaking of the natural world, has ended by calling man himself into question.
 * André Malraux, Les voix du silence [Voices of Silence] (1951) Part IV, Chapter VI

 * In ceasing to subordinate creative power to any supreme value, modern art has brought home to us the presence of that creative power throughout the whole history of art.
 * Part IV, Chapter VI

 * History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.
 * Part IV, Chapter VI

 * Our art culture makes no attempt to search the past for precedents, but transforms the entire past into a sequence of provisional responses to a problem that remains intact.
 * Part IV, Chapter VII

 * Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing. It is not that we prefer time-worn bas-reliefs, or rusted statuettes as such, nor is it the vestiges of death that grip us in them, but those of life. Mutilation is the scar left by the struggle with Time, and a reminder of it — Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.
 * Part IV, Chapter VII

 * L'art est un anti-destin.
 * Art is a revolt against fate.
 * Part IV, Chapter VII

Quotes about Malraux

 * Malraux offers a revolutionary understanding of the nature and significance of art and, in doing so, also provides a glimpse of a new humanism — a “tragic humanism” to borrow his own phrase — which, unlike the optimistic idealisms inherited from the nineteenth century, is compatible with the agnosticism and disenchantment of the world in which we now live.
 * Derek Allan, in  Art and the Human Adventure: André Malraux’s Theory of Art (2009)

 * André Malraux, the French novelist who had fought in the Spanish Civil War, now offered to take up arms again with the Mukti Bahini—which might have been somewhat more intimidating to Yahya if he had not been seventy years old.
 * About the 1971 Bangladesh Liberation War. Bass, G. J. (2014). The Blood telegram: Nixon, Kissinger, and a forgotten genocide. ch 16

 * In behalf of the American people, I extend my deepest sympathy to you and to the people of France on the passing of Andre Malraux. France has lost one of her finest sons. Modern civilization has lost a dynamic and creative spirit. The deep concern of Andre Malraux for his fellow man, his contributions to shaping a better world, and his creativity as a philosopher, novelist, and historian will endure as a lasting memorial.
 * Gerald Ford; Message to President Valery Giscard d'Estaing of France on the Death of Andre Malraux Online, The American Presidency Project; 23 November 1976

 * When I first looked at Walker Evans's photographs, I thought of something Malraux wrote: "To transform destiny into awareness." One is embarrassed to want so much for oneself. But, how else are you going to justify your failure and your effort?
 * Robert Frank Art Is the Highest Form of Hope & Other Quotes by Artists by Phaidon (2016)

 * Malraux's career begins in mystery with the expedition to Indo-China, the obscure affair of the missing statues, a short term of imprisonment, and a plunge into Eastern politics. The details of these matters are still unknown to us, but it is their resonance that counts. With all their shadow and uncertainty they nevertheless suggest a purity of adventure. Malraux entered the European consciousness not as a writer but as an event, as a symbolic figure somehow combining the magical qualities of youth and heroism with a sense of unlimited promise.
 * William Righter in The Rhetorical Hero (1964)

 * At its deepest level, Malraux’s thinking about art is inseparable from an understanding of the significance of man, and especially man in contemporary, agnostic, Western, and Westernised, cultures. There is no question of art as a substitute religion, and Malraux draws a sharp distinction between the function of art and the function of an absolute. There is unmistakably, however, an insistence on the profound human importance of art, especially today in civilizations bereft of any fundamental value.
 * Derek Allan, in Art and the Human Adventure: André Malraux’s Theory of Art (2009)

 * Intelligence suraiguë, culture littéraire et artistique sans égale, don évident de la parole, passion de l’honneur, de l’action, de la camaraderie. Tout est là pour permettre d’affirmer que la vie de Malraux n’a pas fini d’étonner.
 * Georges Pompidou, dans André Malraux, Pages choisies, Hachette, Classiques illustrés Vaubourdolle, 1955 on Fondation Andre Malraux

title: André Malraux


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Talk:Yuri Gagarin

On the following website dedicated to Yuri Gagarin (in Russian) http://gagarin.cbs.org.ru/gagarin/index.html is the full stenogramm of his conversations with Earth: http://gagarin.cbs.org.ru/gagarin/files/efir.doc There is no quotes about the God. So, I moved that quote to the "Attributed" section. Cmapm 03:26, 17 Dec 2004 (UTC)

 * But why "poehali" (let's go) is "attributed"? It is heard pretty well, isn't it?

I also read that Gagarin did not say that he had not seen God. And this phrase was arrogated to him afterwards. On the contrary he was rather religious and he even suggested rebuilding the Cathedral of Christ the Saviour when he was appearing on the Central Committee plenary.

 * Can anyone find the Russian version of the quote were he says "I am a Soviet like you and I need to find a telephone to call Moscow"? On a related note, the Russian wikiquote page for this guy is so sparse, it needs to be juiced up a bit. If we can find some of these quotes on the English wiki in their original Russian, that would really help out.

"I see no God" attribution

 * I see no God up here.
 * This has been reported as a remark Gagarin made while in orbit aboard Vostok 1, but there is no indication of it in the official transcripts of his communications. It is similar to the above statements he reportedly made after his return to earth, which might have given rise to this account.

The cosmonaut who allegedly said he did not see God, was probably German Titov - second Russian in space, who flew aboard Vostok 2. He was Gagarin's backup, and launched Aug. 6, 1961 and orbited Earth 17 times i.e. a whole day.

I moved the above discussion of this remark here. Titov may have said such things, but I know of no attributions of this to him, and there have been attirbutions of such comments to Gagarin, though thus far it seems that they are generally fallacious. ~ Kalki (talk · contributions) 04:37, 28 January 2011 (UTC)

 * Cant give the source now, but I read on some page it was Krushtchev, who said "Yuri Gagarin flew into space and saw no god there" which was a spring point for the false attribution of a non-existent quote to Yuri. Godai (talk) 09:25, 28 September 2012 (UTC)

Yuri Gagarin About not seeing God.
I was listening to Abdelhamid Kishk, the Egyptian scholar. He mentioned that originally Yuri Gagarin admitted that he recognized the existence of a superpower behind our earth and the Universe when he viewed Earth from outside. However, when he landed on Earth and mentioned that, one of his superiors made him change his words and forcefully replacing them with his famous quote, "I did not see God when I was up there" (or words similar to that meaning)

title: Talk:Yuri Gagarin


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User:Cmapm

Quotes, I contributed to:
 * Yuri Gagarin
 * Antoine de Saint-Exupery

title: User:Cmapm


text:
John Mortimer

John Mortimer QC (21 April 1923 – 16 January 2009) was an English barrister and writer, best known for his Rumpole of the Bailey television drama series and books.

Quotes

 * Do we want blanks, asterisks and exclamation marks which people can fill in with their own imaginations, or are we prepared and strong enough to tolerate, even if we do not approve, the strong Anglo-Saxon, realistic and vivid language?
 * Defending record shop proprietor Christopher Seale against obscenity charges for displaying advertisements for Sex Pistols' LP Never Mind the Bollocks, Nottingham Magistrates Court (14 November 1977)

 * I suppose that writers should, in a way, feel flattered by the censorship laws. They show a primitive fear and dread at the fearful magic of print.
 * Clinging to the Wreckage : A Part of Life (1982), p. 183

 * I found criminal clients easy and matrimonial clients hard. Matrimonial clients hate each other so much and use their children to hurt each other in beastly ways. Murderers have usually killed the one person in the world that was bugging them and they're usually quite peaceful and agreeable.
 * As quoted in "Rumpole creator Mortimer dies at 85" by Sam Marsden and Chris Moncrieff, The Independent (16 January 2009)

 * People will go to endless trouble to divorce one person and then marry someone who is exactly the same, except probably a bit poorer and a bit nastier. I don't think anybody learns anything.
 * As quoted in "Rumpole creator Mortimer dies at 85" by Sam Marsden and Chris Moncrieff, The Independent (16 January 2009)

Where There's a Will: Thoughts on the Good Life (2003)

 * Beliefs about how you live your life, matters of private decision, views best kept for private enjoyment, prejudice or entertainment, can't be imposed by the operation of criminal law. Attempts to enforce such views can only make the government the subject of ridicule.
 * Ch. 6 : The Domino Theory and the Tyranny of Majorities

 * A barrister's job is to put the case for the defence as effectively and clearly as would his client if he had an advocate's skills. The barrister's belief or disbelief in the truth of this story is irrelevant: it's for the jury to decide this often difficult question.
 * Ch. 11 : Lying

 * And in spite of David and Jonathan, Hamlet and Horatio, Caesar and Antony, Bush and Blair, women have a greater gift, I think, for friendship.
 * Ch. 12 : The Companionship of Women

 * The three towering geniuses of European culture, Shakespeare, Mozart and Leonardo da Vinci were not allowed to appear on the euro note as they might, in their separate ways, cause offense: Mozart because he was a "womanizer," Shakespeare because he wrote The Merchant of Venice, a play judged to be anti-Semitic, and Leonardo because he was reported to fancy boys. Now the euro note carries a picture of a rather dull bridge.
 * Ch. 13 : Causing Offence

The anxiety has been greatly increased by this government's multiplication of exams and emphasis on starting training as a middle manager in a computer company from the age of six. Parents have made things worse by worrying unduly about exam results and seeing that their children work a great deal harder than most middle managers in computer companies.
 * Childhood, after all, has to be an age of discovery. These are days you'll remember vividly all your life, even when you're old and forget why you came into a room. It must never be allowed to become the age of anxiety.
 * Ch. 14 : Living with Children

A terrorist, the dictionary tells us, is ‘one who favours or uses terror-inspiring methods of governing or of coercing government or community’. This would certainly cover Russian activities in Chechnya and Israeli invasions into Palestinian territory, killing innocent men, women and children and even employees of the United Nations, in a prolonged attempt to fight ruthless terrorism with ruthless terrorism. The word ‘terrorist’ could certainly have been applied to Nelson Mandela before his trial. If it means the calculated mass killing of civilians to obtain an end, it must be applied to the destruction of Hamburg and Düsseldorf and, of course, to the dropping of H-bombs. So all these activities can be defined as ‘terrorism’ if they are committed by an enemy or ‘freedom-fighting’ if by a friend. If so, the conception of a ‘war’ against it calls for the most careful thought.
 * Most people in the West, certainly everyone in Israel, would agree that the Palestinian suicide bombers, who kill women and children, are terrorists. Not many people remember when Palestine, as the land of Israel was once called, was in that obscure state, a British Protectorate. Were the Jewish members of the Stern Gang, those who hanged a British sergeant with piano wire or organized the bomb in the King David Hotel with murderous results (the organization in which Prime Minister Begin started his political career), ‘freedom fighters’ or ‘terrorists’? What, looking at the matter from an entirely neutral standpoint, would we call them now?
 * Ch. 15 : Interesting Times

 * Of the old, violent anarchist groups it was said that they always contained one pathological killer, one selfless idealist and one police spy. It was difficult, at first glance, to tell which was which, but the idealist was always the most dangerous. A "war against terrorism" is an impracticable conception if it means fighting terrorism with terrorism. The feelings on both sides are not that they are taking part in some evil and criminal act but risking their lives heroically for what they consider to be a just cause. You could understandably reduce terrorism by improving security and increasing the number of police spies, but it can only finally be reduced by removing the number of just causes. ANC terrorism was pointless after the end of apartheid. Terrorism in Israel will stop only when a just solution has been agreed to and the occupied territories handed back. Terrorism has existed in Ireland since Elizabeth I sent the Earl of Essex out in an unsatisfactory attempt to quell the rebels. However, since former terrorists have become government ministers in Northern Ireland, some progress has been made and sometimes the signs are hopeful.
 * Ch. 15 : Interesting Times

 * The doctor who makes a friend of his patients, the lawyer who defends death penalty cases in distant countries for no fee, the schoolteacher who opens a child's eyes to a new world of books and poetry — such people do nothing that can be measured in marketplaces. The greatest painters, composers and writers don't offer you choices, they present you with what only they can do, and you must take it or leave it. So when such subjects as the values of the marketplace are discussed, you will probably not have much to contribute. You can repeat a poem in your head and wait until the conversation is over. But if anyone starts talking about "level playing fields," get up and steal quietly from the room.
 * Ch. 19 : The Marketplace

 * If you can't sleep with your own wife wearing a false beard, what can you do?
 * Ch. 20 : Law or Justice

Shylock pinned his faith on the words in the contract, the nature of his bond and the duty of the state to uphold the letter of the law regardless of human suffering. Bassanio put another point of view. More important than the sanctity of the law was the plight of the individual parties in the particular case.
 * Are people naturally destructive, immoral, predatory and self-seeking, only to be kept in order by harsh laws and fiercely deterrent mandatory sentences? Or are men and women naturally orderly, merciful, humane and bred with a need for justice and mutual aid? Of course these qualities, or defects, are not evenly distributed, and undoubtedly there is much of each in all of us, but when it comes to the law some sort of distinction can be drawn. Are you a Shylock or a Bassanio?
 * Ch. 20 : Law or Justice

 * Jewish custom, which traces descent solely from the mother, is more sensible and more discreet. Our own lawgivers can't accept the fact that there are many things in family life that are best kept shrouded in mystery.
 * Ch. 21 : Family Values

 * I have to say that I haven't met an aggressive beggar in London. In New York, crossing 58th Street from the Plaza Oyster Bar to the Wyndham Hotel, I came up against a huge black man in a long, dark overcoat who said, in deep and threatening tones, "Give me fifty dollars!" I managed to ask him if he would be content with thirty-five and, rather to my surprise, he said, "All right, give me thirty-five dollars!" And so the deal was done.
 * Ch. 24 : Giving Money to Beggars

 * It's tempting to wonder how many of the inventions of the past century we might have been better off without. Take the aeroplane for instance. It has transformed warfare from an event in which trained soldiers kill each other on distant battlefields to occasions when death is rained down indiscriminately on innocent civilians, while the professional fighters fly at a great height in comparative safety.
 * Ch. 28 : Inventions and the Decline of Language

 * The "medium is the message" is one of the world's silliest remarks. The message is the message, and it doesn't matter whether you send it by e-mail, a note in a bottle or on a picture postcard. The book, or the poem, or the play is what counts and it doesn't matter if it's written with a pen on a long sheet of ruled paper, as I am writing now, or on the most highly developed word processor. No machine can help with the rhythms of your prose, even if it can spell better than you can.
 * Ch. 28 : Inventions and the Decline of Language

 * We wondered why we ever thought there was, during the Cold War, any serious danger of Russia conquering the world when they couldn't even deliver the scenery for The Tempest.
 * Ch. 29 : Avoiding Utopia

 * Our system, which we call democracy, at least leaves us the right from time to time to get rid of those who wish to govern us. And, if it's nowhere near Utopia, it is probably the best of all imperfect systems. All I can do is to advise you to be very cautious of those who claim to represent you and order you about for your own good.
 * Ch. 29 : Avoiding Utopia

title: John Mortimer


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//donate.wikimedia.org/wiki/Special:FundraiserRedirector?utm_source=donate&utm_medium=sidebar&utm_campaign=C13_en.wikiquote.org&uselang=en

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User:Monet~enwikiquote

Hi there.

 * Utilities

Thomas Aquinas

 * http://www.op.org/Farrell/companion/ The Companion to the Summa theologiae
 * http://www.ccel.org/a/aquinas/summa/ Summa theologiae in English
 *

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Talk:Savitri Devi

Exact sources of quotations ought to be given (title, place of publication, publisher, year, page)!

Savitri Devi is not an Esoteric Hitlerist. Esoteric Hitlerism was founded by Chilean poet and diplomat Miguel Serrano. He was in contact with Savitri Devi and probably got inspired by her. Her approach, however, was not esoteric but purely religious.

title: Talk:Savitri Devi


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Reno 911!

Reno 911! (2003–2009, 2020) was an American television show, airing on Comedy Central, that provided an irreverent look at what goes on behind-the-scenes in Reno, Nevada's Sheriff's Department.

Season 1 Quotes

 * Terry: Have you ever had skittles? They're like pure sugar!

 * Officer Garcia has been shot
 * Deputy James Garcia: Oh, God, call for help.
 * Deputy Trudy Wiegel: Help! Help!
 * Deputy James Garcia: Use your goddamn radio.

 * repeated line
 * Deputy Raineesha Williams: White people are crazy.

 * repeated line
 * Deputy Raineesha Williams: Y'know what I'm sayin'?

 * Deputy Trudy Wiegel: Lt. Dangle and I have a very special relationship. We're like a brother and sister...except a brother and sister who have sex.

 * Talking to a Klan member
 * Deputy Jones: OK, let me tell you...D.T.A.M.S: Don't take another motherfucking step.

 * Terry: I heard a rumor.
 * Deputy Trudy Wiegel: What's that, Ter?
 * Terry: Mexican werewolves are coming up from Mexico and selling crack.

 * Lieutenant Jim Dangle: Hey, Terry! Sheriff's Department!
 * Terry: Hey, guys!
 * Lieutenant Jim Dangle: Hey.
 * Terry: What's goin' down?
 * Lieutenant Jim Dangle: Well, I'll tell ya what's goin' down, Terry: you know that they've installed a camera right here at this red light here.
 * Terry: Oh my God!
 * Lieutenant Jim Dangle: Yeah, and it takes a picture whenever someone runs a red light.
 * Terry: Oh wow, that's awesome, it's like the future is here.
 * Lieutenant Jim Dangle: It is awesome.
 * Deputy Travis Junior: So you know why we're here?
 * Terry: Why, was there a fire?
 * Lieutenant Jim Dangle: You've been chargin' three bucks, you run up when the car is at a red light, and you give a HJ during the red light.
 * Terry: Oh my God, that sounds, that's not something that I would ever do.
 * Deputy Travis Junior: Except we've got about...
 * Lieutenant Jim Dangle: We got about 38 photos of you and that's only last night.
 * Terry: Well, I can see how you would think that, but I sell... oranges.
 * Deputy Travis Junior: You sell oranges?
 * Lieutenant Jim Dangle: You sell oranges?
 * Terry: Mmhm!
 * Lieutenant Jim Dangle: I'll take some.
 * Deputy Travis Junior: Yeah, I'd like some too.
 * Terry: I've sold out, I've sold out of my oranges...I run out and people are like beep beep, I go OK, and say you're driving and I just put it in their lap.
 * Lieutenant Jim Dangle: Well...
 * Deputy Junior: I don't know about that.
 * Lieutenant Jim Dangle: Come on, Terry.
 * Terry: I can't, I have to call my girlfriend... listen I don't even know what you're talking about.
 * Begins tugging Terry away on his roller skates
 * Deputy Travis Junior: We're talking about you giving hand jobs at three bucks a pop at this red light up here, that's what we're talking about.
 * Terry: OK, OK, a hand job is still a job, OK?
 * Lieutenant Jim Dangle: Come on, easy does it, Xanadu it right into the car.
 * Terry: You Xana-Don't it!
 * Lieutenant Jim Dangle: Did he just say "Xana-Don't it?"

 * talking to a junior-high class
 * Deputy Trudy Wiegel: Now, I don't care if you wear mini-skirts. I don't care if you wear Dungarees. I don't care if you're good at basketball, I don't care if you're fun to be around. But you can rest assured that every one of you, at some point, is going to be raped.

 * Deputy Garcia: Criminals are the vomit of society and we are the sawdust.

 * said of a prostitute
 * Deputy James Garcia: God vomited and there was Jackie.

 * Deputy Trudy Wiegel: Raineesha Williams is a loudmouth, backstabbing Jew. I wanna say Jew but I think she's in fact very openly Catholic, which I have a problem with, too.

 * Jackie the Hooker: Shit, my wig falls off...now everybody knows I don't have cancer...

Season 4 Quotes

 * Lieutenant Jim Dangle: Sheriffs department
 * Deputy Trudy Wiegel: Hey Terry.
 * Terry: Hiiii.
 * Deputy Trudy Wiegel: How's it going tonight?
 * Terry: Hi.
 * Lieutenant Jim Dangle: (to two girls sitting at Terry's table) Seriously. Take a walk.
 * Terry: (to girls) Bye you guys, I'll see you at the party.
 * Deputy Trudy Wiegel: Terry.
 * Terry: Whats going on?
 * Deputy Trudy Wiegel: Whats going on is that apparently you've been doing peoples taxes.
 * Lieutenant Jim Dangle: (reading from advertisement in news paper) Terry Bernadino, certified public accountant?
 * Terry: That's me, at your service. Why? Do you want me to do your taxes?
 * Lieutenant Jim Dangle: (yelling) When did you get your CPA?
 * Terry: What's that?
 * Lieutenant Jim Dangle: Oh my god will you stop.
 * Terry: Oh, is that that thing where someone can't breath and you give them CPA? Whatever I'll stop, I'll just go back to being a Doctor.
 * Lieutenant Jim Dangle: How did you even start doing peoples taxes Terry?
 * Terry: Um.. some guy, who, who ah, was not my boyfriend for a while, said he wanted me to look at his taxes. So I was like, maybe I wont maybe I will and then he punched me in the face, so I was like alright...
 * Lieutenant Jim Dangle: So you're the victim. This is a Terry story...
 * Terry: No...
 * Deputy Trudy Wiegel: (as Terry starts crying) There he goes again.
 * Lieutenant Jim Dangle: Trudy, Trudy, this is amazing. In this part of Terry's life, Terry's the victim. As opposed to, as opposed to every other time. (to Terry) This time, you're the victim.
 * Deputy Trudy Wiegel: If I recall the last time Terry was the victim was when he was giving pap smears in the back of his van.
 * Lieutenant Jim Dangle: Yeah, remember that?
 * Deputy Trudy Wiegel: And somehow he was a victim because the lady clamped down on him.
 * Terry: (still crying) Yeah. She... she Kicked me in the face.
 * Deputy Trudy Wiegel: (Leading Terry in his roller skates, who has now stopped crying to the police car) Come on Terry.
 * Terry: Stop. There's a curb right there I can't go over it.
 * Lieutenant Jim Dangle: You can't go over it?
 * Terry: No I'll fall and hurt myself.
 * Lieutenant Jim Dangle: Terry,I like you. I used to like you.
 * Terry: Thank you. (leans in to kiss Dangel, who backs off)
 * Terry: What?

Season 5 Quotes

 * (The whole group is in the conference room except Dangle.)
 * Jones: Who's your guys' best friend in the world?
 * Garcia: Santa Claus?
 * Junior: Yeah, that's what I was gonna say, Santa Claus.
 * Jones: Nope. Jones is your best friend, 'cause guess who's got tickets to the game!
 * {Everyone cheers}
 * Jones: We're going to University of Reno!
 * Williams: To Jonesy! (everyone holds up their coffee mugs in a toast)
 * (Dangle enters skipping)
 * Dangle: Hello, gang!
 * Williams: Good morning!
 * Dangle: Good morning indeed, very good morning indeed!
 * Williams: Yes it is, yes it is.
 * Dangle: I've been promoted!
 * All: (unenthusiastically) What?
 * Williams: Really?
 * Dangle: I'm going up to Carson City. (everyone cheers) Going to Carson City: Nevada State Police Director of Public Relations, Jim Dangle!
 * (Everyone claps)
 * Dangle: I'm goin', girl! And I made some reservations for Friday night, at Dan Swanky's, and thought maybe we could have a farewell dinner at Dan Swanky's at eight. I look forward to seeing you there and I'm going to miss you a whole lot of missing you all!
 * (Everyone grimaces: the get-together is the same night as the game.)
 * Johnson: ...I think Saturday is a great day for Dan Swanky's.
 * Jones: Yeah, I agree.
 * Dangle: What part about my reservation at Dan Swanky's didn't I make clear? I mean, I made a reservation at eight on Friday.
 * Jones: Sir, I, uh, I got us all tickets to the Lady Wolfpack, there's a final conference game and, well, this doesn't happen very often... sir.
 * Dangle: It's mandatory. It's mandatory. How's that?
 * Jones: Sir, I, uh, it's just...
 * Dangle: Are we talking about the Lady Wolfpack still?
 * Jones: I just...
 * Junior: Could we for a second?
 * Dangle: Hey, you know what's flying in? (makes helicopter sound) Oh. A period. To your fucking sentence about the Lady Wolfpack, just arrived.

 * [In regards to Inspector Smiley, an English transfer to the department for the day as part of the "Badges Across the Water" program.]
 * Dangle: Smiley reminds me of someone from Mary Poppins... Not Vic, the Chimney Sweep, but another friend of Mary Poppins we never met.
 * Wiegel: That's funny, because Smiley also reminds me of someone from Merry Poppins. Who, for instance, comes riding in on some sort of jaloppy with Whipped ices, and he says, "Come along, children, I have whipped ices!" And when they get close enough to him, he grabs 'em, and rapes the shit out of 'em, and then tosses them in the back seat, and then, off he goes. And then: "Chip chip cheerio!"
 * [Dangle is speechless.]

Other Seasons

 * Travis: Now that I've said that out loud, it sounds really stupid, so it probably isn't true.

title: Reno 911!