text:
Edith Wharton

Edith Wharton (24 January 1862 – 11 August 1937) was an American novelist, short story writer and designer.

Quotes

 * Set wide the window. Let me drink the day. I loved light ever, light in eye and brain — No tapers mirrored in long palace floors, Nor dedicated depths of silent aisles, But just the common dusty wind-blown day That roofs earth's millions.
 * "Vesalius in Zante (1564)", in North American Review (November 1902), p. 625

 * There are two ways of spreading light: to be The candle or the mirror that reflects it.
 * "Vesalius in Zante (1564)", in North American Review (November 1902), p. 631

 * It was part of her discernment to be aware that life is the only real counselor, that wisdom unfiltered through personal experience does not become a part of the moral tissues.
 * Sanctuary, (1903) part II, ch. IV

 * A New York divorce is in itself a diploma of virtue.
 * "The Other Two," ch. 1, from The Descent of Man and Other Stories (1904)

 * The only way not to think about money is to have a great deal of it.
 * The House of Mirth (1905), bk.1, ch. 6

 * He had come on her that morning in a moment of disarray; her face had been pale and altered, and the diminution of her beauty had lent her a poignant charm. That is how she looks when she is alone! had been his first thought; and the second was to note in her the change which his coming produced.
 * "The House of Mirth" (1905), bk. 1, ch. 6

 * No insect hangs its nest on threads as frail as those which will sustain the weight of human vanity.
 * "The House of Mirth" (1905), ch. X, pg. 69

 * After all, one knows one's weak points so well, that it's rather bewildering to have the critics overlook them & invent others that (one is fairly sure) don't exist — or exist in a less measure.
 * Letter to Robert Grant (19 November 1907)

 * I wonder, among all the tangles of this mortal coil, which one contains tighter knots to undo, & consequently suggests more tugging, & pain, & diversified elements of misery, than the marriage tie.
 * Letter to John Hugh Smith (12 February 1909), published in The Letters of Edith Wharton (1988)

 * Mrs. Ballinger is one of the ladies who pursue Culture in bands, as though it were dangerous to meet it alone.
 * "Xingu" (1911), from Xingu and Other Stories (1916)

 * How much longer are we going to think it necessary to be "American" before (or in contradistinction to) being cultivated, being enlightened, being humane, & having the same intellectual discipline as other civilized countries?
 * Letter to Barrett Wendell (19 July 1919)

 * Another unsettling element in modern art is that common symptom of immaturity, the dread of doing what has been done before.
 * The Writing of Fiction (1925), ch. I

 * True originality consists not in a new manner but in a new vision.
 * The Writing of Fiction (1925), ch. I

 * Life is always a tightrope or a feather bed. Give me the tightrope.
 * Journal entry (March 1926)

 * I have never known a novel that was good enough to be good in spite of its being adapted to the author’s political views.
 * Letter to Upton Sinclair (19 August 1927)

 * When people ask for time, it's always for time to say no. Yes has one more letter in it, but it doesn't take half as long to say.
 * The Children (1928), ch. XXV

 * Nancy, the most beautiful town in France, has never been as beautiful as now. (...) The last time I looked out on the great architectural setting of the Place Stanislas was on a hot July evening, the evening of the National Fête. The square and the avenues leading to it swarmed with people, and as darkness fell the balanced lines of arches and palaces sprang out in many coloured light. Garlands of lamps looped the arcades leading into the Place de la Carrière, peacock-coloured fires flared from the Arch of Triumph, long curves of radiance beat like wings over the thickets of the park, the sculptures of the fountains, the brown-and-gold foliation of Jean Lamour's great gates; and under this roofing of light was the murmur of a happy crowd carelessly celebrating the tradition of half-forgotten victories.
 * Fighting France, chapter In Lorraine and the Vosges, 1915.

The Age of Innocence (1920)

 * An unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.
 * Ch. 1

 * It frightened him to think what must have gone to the making of her eyes.
 * Ch. 8

 * I can't love you unless I give you up.
 * Ch. 18

 * In the rotation of crops there was a recognized season for wild oats; but they were not sown more than once.
 * Ch. 31

 * It was the old New York way of taking life "without effusion of blood": the way of people who dreaded scandal more than disease, who placed decency above courage, and who considered that nothing was more ill-bred than "scenes," except the behaviour of those who gave rise to them.
 * Ch. 33

 * The worst of doing one's duty was that it apparently unfitted one for doing anything else.
 * Ch. 34

A Backward Glance (1934)

 * Habit is necessary; it is the habit of having habits, of turning a trail into a rut, that must be incessantly fought against if one is to remain alive.
 * "A First Word"

 * There's no such thing as old age; there is only sorrow.
 * "A First Word"

 * In spite of illness, in spite even of the archenemy sorrow, one can remain alive long past the usual date of disintegration if one is unafraid of change, insatiable in intellectual curiosity, interested in big things, and happy in small ways.
 * "A First Word"

 * I was never allowed to read the popular American children's books of my day because, as my mother said, the children spoke bad English without the author's knowing it.
 * Ch. 3

 * To James's intimates, however, these elaborate hesitancies, far from being an obstacle, were like a cobweb bridge flung from his mind to theirs, an invisible passage over which one knew that silver-footed ironies, veiled jokes, tiptoe malices, were stealing to explode a huge laugh at one's feet.
 * Ch. 8

Misattributed

 * A classic is classic not because it conforms to certain structural rules, or fits certain definitions (of which its author had quite probably never heard). It is classic because of a certain eternal and irrepressible freshness.
 * Ezra Pound, ABC of Reading (1934): "Warning"

 * Art is on the side of the oppressed. Think before you shudder at the simplistic dictum and its heretical definition of the freedom of art. For if art is freedom of the spirit, how can it exist within the oppressors?
 * Nadine Gordimer, "The Essential Gesture: Writers and Responsibility", The Tanner Lectures on Human Values, University of Michigan (12 October 1984), p. 9

 * Old age, calm, expanded, broad with the haughty breadth of the universe, Old age flowing free with the delicious near-by freedom of death.
 * Walt Whitman, "Song of the Open Road", 12, Leaves of Grass (1855)

Quotes about Edith Wharton

 * The Age of Innocence'' is so poetic and has stuck to me years after reading it in school.
 * Eva Chen attributed in article (2015)

 * When the world is too much, I love to read thrillers and romance novels. I just want to lose myself in something either intriguing or ludicrously romantic. For inspiration, I go back to my favorite books, the ones I wish I had written. This seems sufficiently vague given that I haven’t listed any titles. My No. 1 go-to book is The Age of Innocence, by Edith Wharton.
 * Roxane Gay attributed in article (2017)

 * (Which classic novel did you recently read for the first time?) “The Age of Innocence,” by Edith Wharton. I’d read “Ethan Frome” in high school, but somehow missed this one. It’s a masterpiece. Despite being almost a hundred years old, it still speaks powerfully on the assumptions we make about each other, and our human failures to communicate our needs and desires.
 * Celeste Ng interview (2017)

title: Edith Wharton


text: Category:Dentists

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

title: Category:Dentists


text:
Gary Lineker

Gary Winston Lineker, OBE (born 30 November, 1960 in Leicester) is a former English international footballer, playing as a striker for Leicester City, Everton, FC Barcelona, Tottenham Hotspur, and Nagoya Grampus Eight. Since then, he has developed a career as a sports broadcaster for BBC Television.

Quotes

 * Football is a simple game, twenty-two men chase a ball for 90 minutes and at the end, the Germans always win.
 * A quote from 1990 cited 28 years later by
 * After England were beaten by Germany in the quarter finals of the Italia '90 World Cup.

 * I always score one against the Germans.
 * Playing for the MCC against a German XI in a cricket match on 27 August 2002 and scoring a single run before being dismissed.

 * There is no huge influx. We take far fewer refugees than other major European countries. This is just an immeasurably cruel policy directed at the most vulnerable people in language that is not dissimilar to that used by Germany in the 30s, and I'm out of order?
 * A tweet by Lineker on 7 March 2023 in response to home secretary Suella Braverman's plans to stop migrant's crossing the English Channel in small boats.
 * Lineker was suspended by the United Kingdom's as he had made a political comment deemed inappropriate for a presenter. The matter was raised in the British parliament. The BBC's flagship Match of the Day football programme ran in a shorter form than usual for one edition with no commentary as colleagues at the BBC withdrew from presenting football programs for the weekend until Lineker was reinstated.

Unsourced

 * (in the build-up to the France-Portugal semi final at the 2006 World Cup) "This is the BBC and we will be completely impartial, so allez les bleus. With me tonight holding their lucky coqs sportifs under the desk are..."
 * The best place to watch Wimbledon F.C. is teletext. As you can tell, I dislike Wimbledon. Hate them, even.

title: Gary Lineker


text:
Katherine Harris

Katherine Harris (born April 5, 1957) is an American former politician. A Republican, Harris served in the Florida Senate from 1994 to 1998, as Secretary of State of Florida from 1999 to 2002, and as a member of the United States House of Representatives from Florida's 13th congressional district from 2003 to 2007. Harris lost her campaign in 2006 for a United States Senate seat from Florida.

In the 2000 presidential election, she received national attention for her role as the Florida's secretary of state during the state's election recount, certifying George W. Bush's narrow victory (537 votes) over Al Gore and awarding him the Florida electors, which gained him the national election.

Quotes

 * I'm actually very sensitive about those things, and it's personally painful...You know, whenever they made fun of my makeup, it was because the newspapers colorized my photograph.
 * On Sean Hannity's talk radio program, August 1, 2005, responding to Hannity asking Harris whether the jokes bothered her.

 * Win back America for God.
 * The Crusaders, Rolling Stone Magazine

 * God is the one who chooses our rulers
 * "", The Florida Baptist Witness newspaper

 * And if we are the ones not actively involved in electing those godly men and women and if people aren’t involved in helping godly men in getting elected than we’re going to have a nation of secular laws. That’s not what our founding fathers intended and that’s certainly isn’t what God intended.
 * "", The Florida Baptist Witness newspaper

 * If you’re not electing Christians then in essence you are going to legislate sin.
 * "", The Florida Baptist Witness newspaper

About Katherine Harris

 * Hard not to notice that anti-semitism seems to be on the rise: Britain to Serbia to Montreal to Florida, where the same Katherine Harris who-as Florida's Secretary of State in 2000-refused a recount of that state's votes, has declared that voting for non-Christians amounted to legislating sin."
 * Melanie Kaye/Kantrowitz The Colors of Jews: Racial Politics and Radical Diasporism (2007)

 * They had trucks in Florida bringing the ballots to Tallahassee... It's the same trucks they used to bring the makeup to Florida Secretary of State Katherine Harris.
 * Jay Leno, 2000

 * This is a woman who could stand next to Hitler and people would say, "who's the bitch?".
 * Seth MacFarlane speaking at Harvard's 2006 "Class Day"

title: Katherine Harris


text:
Lee Child

James D. "Jim" Grant (born 29 October 1954), primarily known by his pen name Lee Child, is a British author who writes thriller novels, and is best known for his Jack Reacher novel series about an American former Military Policeman named Jack Reacher who is wandering the United States in search of redemption.

Quotes

 * Long experience had taught me that absolute silence is the best way. Say something, and it can be misheard. Misunderstood. Misinterpreted. It can get you convicted. It can get you killed. Silence upsets the arresting officer. He has to tell you silence is your right but he hates it if you exercise that right. I was being arrested for murder. But I said nothing.
 * Killing Floor, Ch. 1 (1997).

 * I thought: should I be worried? I was under arrest. In a town where I'd never been before. Apparently for murder. But I knew two things. First, they couldn't prove something had happened if it hadn't happened. And second, I hadn't killed anybody. Not in their town, and not for a long time, anyway.
 * Killing Floor, Ch. 1.

 * So he died, because for a split second he got brave. But not then. He died much later, after the split second of bravery had faded into long hours of wretched gasping fear, and after the long hours of fear had exploded into long minutes of insane screaming panic.
 * Die Trying, Ch. 1 (1998).

 * Jack Reacher stayed alive, because he got cautious. He got cautious because he heard an echo from his past. He had a lot of past, and the echo was from the worst part of it.
 * Die Trying, Ch. 1.

 * He was keeping track of time. It was nearly two hours since he had last looked at his watch, but he knew what time it was to within about twenty seconds. It was an old skill, born of many long wakeful nights on active service. When you're waiting for something to happen, you close your body down like a beach house in winter and you let your mind lock onto the steady pace of the passing seconds. It's like suspended animation. It saves energy and it lifts the responsibility for your heartbeat away from your unconscious brain and passes it on to some kind of a hidden clock. Makes a huge black space for thinking in. But it keeps you just awake enough to be reach for whatever you need to be ready for. And it means you always know what time it is.
 * Die Trying.

 * The protection he relied on for nearly thirty years was based on just two things. The same two things anybody uses to protect against any danger. The same way a nation protects itself against an enemy missile, the same way an apartment dweller protects himself against a burglar, the same way a boxer guards against a knockout blow. Detection and response. Stage one, stage two. First you spot the threat coming in, and then you react to it.
 * Tripwire, Prologue (1999).

 * He had no living relatives anywhere capable of leaving him a fortune in a will. He owed no money. He had never stolen anything, never cheated anybody. Never fathered any children. He was on as few pieces of paper as it was possible for a human being to get. He was just about invisible.
 * Tripwire, Ch. 1.

 * Seven thirty-nine, more than three hundred miles to the north and east, Jack Reacher climbed out of his motel room window. One minute earlier, he had been in the bathroom, brushing his teeth. One minute before that, he had opened the door of his room to check the morning temperature. He had left it open, and the closet just inside the entrance passageway was faced with mirrored glass, and there was a shaving mirror in the bathroom on a cantilevered arm, and by a freak of optical chance he caught sight of four men getting out of a car and walking toward the motel office. Pure luck, but a guy as vigilant as Jack Reacher gets lucky more times than the average.
 * Echo Burning, Ch. 1 (2001).

 * People have their reasons for giving rides, all of them different. Maybe they hitched a lot when they were younger and now they're settled and comfortable they want to put back what they took out. Like a circular thing. Maybe they have charitable natures. Or maybe they're just lonely and want a little conversation.
 * Echo Burning, Ch. 1.

 * The two men walked on and stopped eight feet in front of him and faced him head-on. Reacher flexed his fingers by his side, to test how cold they were. Eight feet was an interesting choice of distance. It meant they were going to talk before they tangled. He flexed his toes and ran some muscle tension up through his calves, his thighs, his back, his shoulders. Moved his head side to side and then back a little, to loosen his neck. He breathed in through his nose. The wind was on his back. The guy on the left took his hands out of his pockets. No gloves. And either he had bad arthritis or he was holding rolls of quarters in both palms.
 * Without Fail, Ch. 1 (2002).

 * The cop climbed out of his car exactly four minutes before he got shot. He moved like he knew his fate in advance.
 * Persuader, Ch. 1 (2003).

 * As serious as a heart attack. Maybe those were Ken Kramer's last words, like a final explosion of panic in his mind as he stopped breathing and dropped into the abyss. He was out of line, in every way there was, and he knew it. He was where he shouldn't have been, with someone he shouldn't have been with, carrying something he should have kept in a safer place. But he was getting away with it. He was playing and winning. He was on top of his game. He was probably smiling. Until the sudden thump deep inside his chest betrayed him. Then everything turned around. Success became instant catastrophe. He had no time to put anything right.
 * The Enemy, Ch. 1 (2004).

 * Friday. Five o'clock in the afternoon. Maybe the hardest time to move unobserved through a city. Or, maybe the easiest. Because at five o'clock on a Friday nobody pays attention to anything. Except the road ahead.
 * One Shot, Ch. 1 (2005).

 * Jack Reacher ordered espresso, double, no peel, no cube, foam cup, no china, and before it arrived at his table he saw a man's life change forever. Not that the waiter was slow. Just that the move was slick. So slick, Reacher had no idea what he was watching. It was just an urban scene, repeated everywhere in the world a billion times a day: A guy unlocked a car and got in and drove away. That was all. But that was enough.
 * The Hard Way, Ch. 1 (2006).

 * Reacher hated turning back. He liked to press on, dead ahead, whatever. Everyone's life needed an organizing principle, and relentless forward motion was Reacher's.
 * Nothing to Lose, Ch. 2 (2008).

 * The guy that was standing said, "We don't want you here." Reacher said, "You're confusing me with someone who gives a shit what you want." "You won't get served in here." "Won't I?" "Not a hope." "You could order for me." "And then what?" "Then I could eat your lunch."
 * Nothing to Lose, Ch. 4 (2008).

 * "Best we can do. And we have to do something."
 * 61 Hours, (2010).

 * "I like to know things. I'm hungry for knowledge."
 * 61 Hours, (2010).

 * "Cold?" Reacher said. "This is nothing."
 * 61 Hours, (2010).

 * "Plan A is to hitch a ride out of here. But if they want a war, then plan B is to win it."
 * Worth Dying For, (2010).

 * The driver wanted Reacher more than he wanted an undamaged front bumper.
 * Worth Dying For, (2010).

 * overwhelming force indiscriminately applied, not giving up on it well after he was sure no more was required.
 * Worth Dying For, (2010).

Running Blind (2000)

 * People say that knowledge is power. The more knowledge, the more power. Suppose you knew the winning numbers for the lottery? All of them? Not guessed them, not dreamed them, but really knew them? What would you do? You would run to the store. You would mark those numbers on the play card. And you would win...Same for killing people.
 * Ch. 1.

 * Suppose you wanted to kill people. You would need to know ahead of time how to do it. That part is not too difficult. There are many ways. Some of them are better than others. Most of them have drawbacks. So you use what knowledge you've got, and you invent a new way. You think, and you think, and you think, and you come up with the perfect method. You pay a lot of attention to the setup. Because the perfect method is not an easy method, and careful preparation is very important. But that stuff is meat and potatoes to you. You have no problem with careful preparation. No problem at all. How could you, with your intelligence? After all your training? You know the big problems will come afterward. How do you make sure you get away with it? You use your knowledge. You know more than most people about how the cops work. You've seen them on duty many times, sometimes close-up. You know what they look for. So you don't leave anything for them to find. You go through it all in your head, very precisely and very exactly and very carefully. Just as carefully as you would mark the play card you knew for sure was going to win you a fortune.
 * Ch. 1.

 * People say that knowledge is power. The more knowledge, the more power. Which makes you just about the most powerful person on earth. When it comes to killing people. And then getting away with it.
 * Ch. 1.

 * Life is full of decisions and judgments and guesses, and it gets to the point where you're so accustomed to making them you keep right on making them even when you don't strictly need to. You get into a what if thing, and you start speculating about what you would do if some problem was yours instead of somebody else's. It gets to be a habit. It was a habit Jack Reacher had in spades.
 * Ch. 1.

 * The dynamics of the city. His mother had been scared of cities. It had been part of his education. She had told him cities are dangerous places. They're full of tough, scary guys. He was a tough boy himself but he had walked around as a teenager ready and willing to believe her. And he had seen that she was right. People on city streets were fearful and furtive and defensive. They kept their distance and crossed to the opposite sidewalk to avoid coming near him. They made it so obvious he became convinced the scary guys were always right behind him, at his shoulder. Then he suddenly realized no, I'm the scary guy. They're scared of me. It was a revelation. He saw himself reflected in store windows and understood how it could happen. He had stopped growing at fifteen when he was already six feet five and two hundred and twenty pounds. A giant. Like most teenagers in those days he was dressed like a bum. The caution his mother had drummed into him was showing up in his face as a blank-eyed, impassive stare. They're scared of me. It amused him and he smiled and then people stayed even farther away. From that point onward he knew cities were just the same as every other place, and for every city person he needed to be scared of there were nine hundred and ninety-nine others a lot more scared of him. He used the knowledge like a tactic, and the calm confidence it put in his walk and his gaze redoubled the effect he had on people. The dynamics of the city.
 * Ch. 1.

Gone Tomorrow (2009)

 * Suicide bombers are easy to spot. They give out all kinds of telltale signs. Mostly because they're nervous. By definition they're all first-timers.
 * Ch. 1.

 * The world is the same jungle all over, but New York is its purest distillation. What is useful elsewhere is vital in the big city. You see four guys bunched on a corner waiting for you, you either run like hell in the opposite direction without hesitation, or you keep on walking without slowing down or speeding up or breaking stride. You look ahead with studied neutrality, you check their faces, you look away, like you're saying, Is that all you got? Truth is, it's smarter to run. The best fight is the one you don't have. But I have never claimed to be smart. Just obstinate, and occasionally bad-tempered. Some guys kick cats. I keep walking.
 * Ch. 10.

 * You have to ration your opponents' victories. You have to mete them out, slowly and meanly. You have to make your opponents subliminally grateful for every little bit of compliance. That way you get away with giving up ten small losses a day, rather than ten big ones.
 * Ch. 43.

 * "Why not go live on the beach?" "These things are a way of keeping score. I'm sure you have your own way of keeping score." I nodded. "I compare the numbers of answers I get to the number of questions I ask." "And how are you doing with that?" "Lifetime average is close to a hundred per cent."
 * Ch. 65.

title: Lee Child


text:
Deep Impact

Deep Impact is a 1998 disaster movie in which a comet is on a collision course with the Earth. It's up to a team of astronauts to stop the comet before it destroys all of humanity.
 * Directed by Mimi Leder. Written by Bruce Joel Rubin and Michael Tolkin.

Heaven and Earth are about to collide. Taglines

President Tom Beck

 * Good evening. A few minutes ago, the United States ambassadors to every country in the world told the leaders of those nations what I'm about to tell you. It's a bit complicated, so we'll take some time, so I hope you'll bear with me, hear what I have to say. A little over a year ago, two American astronomers, Marcus Wolf and Leo Biederman, working on a mountaintop in Arizona, saw something in the night sky that caused them great concern. A comet. But the comet was... well, there was a remote possibility that the comet was on a path that could bring it into direct contact with the Earth. Now, we get hit all the time by rocks and meteors, some of them the size of cars, some no bigger than your hand. But the comet we discovered is the size of New York City, from the North side of Central Park to the Battery. About seven miles long. Put another way, this comet is larger than Mount Everest. It weighs 500 billion tons.
 * Secretary Rittenhouse served his country with full devotion. He resigned for personal reasons. Now, I can promise you this, Miss Lerner, all of you, everyone in this room and everyone listening to my voice, that at some point over the next ten months, all of us will entertain our worst fears and concerns. But I can also promise you this. Life will go on.  We will prevail.
 * Hello, America. It is my unhappy duty to report to you that the Messiah has failed. This computer-enhanced radar image from Houston shows how the detonation succeeded, however, did not destroy the comet. There are now two pieces, one six miles wide, the other a mile and a half. Both are still on a path towards Earth. We've lost communication with the Messiah spacecraft although we continue to track it visually. We don't know how many are alive. We don't know their condition. Now we have to make some decisions together. What do we do? You have a choice. We have a choice right now. Ever since the comet was discovered, we've been hoping and working for the best, but we've also been planning for the worst. Our strategy has been twofold: First, our strategic missile command has been coordinating with the Russians a massive strike of Titan missiles to intercept the comets. If we can deflect these comets enough, they will bounce harmlessly off our atmosphere, and head on out into space. Unfortunately, the Titans cannot be launched until the comets are ony a few hours away, and while we are confident the missile attack will succeed, it is only prudent that we now take cautionary steps to ensure the continuation of our way of life, to guarantee that there will be enough of us left to rebuild a new world in the unlikely event that the comets do strike the Earth. So, in the soft limestone of Missouri, we've been preparing a network of immense caves, and they're almost finished. And we can put a million people in them. And that million people can survive there, underground, for two years, until the air clears, and the dust settles. Now the cave is more than a dormitory. It's our new Noah's Ark. We're storing seeds and seedlings, plants, animals, enough to start over. On August 10, a computer will randomly select 800,000 Americans, to join the 200,000 scientists, doctors, engineers, teachers, soldiers and artists who have already been chosen. Other countries are preparing similar caves along whatever lines they feel are best to preserve their way of life. This is ours. Beginning tonight and continuing tonight until the crisis passes, I am declaring a state of martial law. The armed forces and the National Guard are working with local law enforcement. A national curfew begins at midnight tonight. Now wherever you are, go home. Stay off the roads after sunset. Crimes against persons or property will be dealt with swiftly and harshly. News stations around the nation are being faxed copies of the lottery procedure as we speak and they'll be broadcasting the details to you in a few moments.
 * I wish... No, wishing is wrong. It's the wrong word right now. That's not what I mean. What I mean is, I believe in God. I know a lot of you don't, but I would like to offer a prayer for our survival, mine included. Because I believe that God, whomever you hold that to be, hears all prayers, even if sometimes the answer is no. So may the Lord bless you, may the Lord keep you, may the Lord lift his divine countenance upon you, and give you peace.
 * Our missiles have failed. The comets are still headed for Earth, and there's nothing we can do to stop them. So, this is it. If the world does go on, it will not go on for everyone. We have now been able to calculate the comet's final trajectories, and we have determined where they're going to strike. The smaller of the two comets, Biederman, will hit first, somewhere in the Atlantic Seaboard, probably off the waters of Cape Hatteras, in just under twelve hours, at 4:35 PM Eastern Daylight Time. The impact of the comet is going to be... well, disastrous. There will be a very large tidal wave moving quickly through the Atlantic Ocean. It'll be 100 feet high, travelling at 1,100 miles per hour. That's faster than the speed of sound. As the wave reaches shallow water, it's going to slow down, but the wave height, depending on the shelf off the coast will be anywhere from 1,000 to 3,500 feet high. Where the land is flat, the wave will wash inland, 600 to 700 miles. The wave will hit our nation's capital forty minutes after impact. New York City, Boston, Atlanta, Philadelphia, all will be destroyed. If you have any means of escaping the path of this wave, leave now. The impact of the larger comet will be nothing less than an extinction level event. It will strike land in Western Canada, three hours after Biederman. Within a week, the skies will be dark with dust from the impact and they will stay dark for two years. All plant life will dead within... four weeks. Animal life within... a few months. So, that's it. Good luck to us all.
 * [last line] We watched as the bombs shattered the second comet into a million pieces of ice and rocks that burned harmlessly in our atmosphere, and lit up the sky for an hour. Still, we were left with the devastation of the first. The waters reached as far inland as the Ohio and Tennessee Valleys. It washed away farms and towns, forests and skyscrapers, but the water receded. The wave hit Europe and Africa, too. Millions were lost, countless more left homeless, but the waters receded. Cities fall, but they are rebuilt. And heroes die, but they are remembered. We honor them with every brick we lay, with every field we sow, with every child we comfort and then teach to rejoice in what we have been regiven. Our planet, our home. So now, let us begin.

Others

 * Jason Thurman: Hey, Leo, now that you're famous, you'll get a lot more sex than anyone else in your class.
 * Leo Biederman: [to his parents] I have to go back for Sarah.

Dialogue

 * Jenny Lerner: We know everything.
 * Alan Rittenhouse: Nobody knows everything.
 * Jenny Lerner: Well, we know about the secret phone lines, and the whispered calls to the president, and about a secretary of the Treasury who's kept his entire department in the dark about what he's really doing, about a cover story about his resignation that just fell through. I mean, sir, you want me to go on?
 * Alan Rittenhouse: And you're just gonna break it?
 * Jenny Lerner: Well, that's what we do for a living.
 * Alan Rittenhouse: Well, congratulations, you now have the biggest story in history. Good luck to you. Personally, I think it's a mistake to run the story, but hey, what the hell? Why not? What difference does anything make anymore? Look, I know you're just a reporter, but you used to be a person, right? I wanted to be with my family. Can you understand that?

 * President Tom Beck: We always thought the deadline for public knowledge was the publication of the budget, since we've spent more money than we can hide. That won't happen for two weeks. I don't suppose I could prevail upon you to wait for two weeks in the name of national security.
 * Jenny Lerner: Two weeks? There's no such thing as two weeks in the news business.
 * President Tom Beck: And I can't appeal to your sense of what's in the nation's best interest.
 * Jenny Lerner: I always thought the truth was in the nation's best interest.

 * President Tom Beck: Give us two days, Miss Lerner, you'll get second row centre, at the White House press conference. Now, from what I know of your career, that's a promotion.
 * Jenny Lerner: I want exclusivity.
 * President Tom Beck: Now listen, young lady. This is a presidental favour. I'm letting you go because I don't want another headache. And I'm trusting you because I know what this can do for your career. Now, it might seem that we have each other over the same barrel, but it just seems that way.
 * Jenny Lerner: I want...
 * President Tom Beck: You want?
 * Jenny Lerner: May I... May I have the first question?
 * President Tom Beck: I'll see you Tuesday, Miss Lerner.

 * Oren Monash: Sometimes I see flashes of light. You know like colours. I fall asleep and I dream. But there's a part of me that's always awake. And I can see myself dreaming. I'm just seeing things differently, Fish.
 * Spurgeon Tanner: Well, that's good.
 * Oren Monash: Fish. Why the hell do they call you "Fish"?
 * Spurgeon Tanner: Spurgeon, sturgeon, fish. Took me about 15 minutes of my first day at the Naval Academy.
 * Oren Monash: Your kids go there?
 * Spurgeon Tanner: Yeah, they did. They did. And they're good men, both of them. I don't see as much of them as I used to when Mary was alive.
 * Oren Monash: You don't have to talk about it. It's O.K.
 * Spurgeon Tanner: No, it's O.K. It's O.K. You're a married man; you know what it's like. Every marriage has its good years and bad years. We ended on a great year. Well, lets get started. Moby Dick, chapter one. "Call me Ishmael. Several years, never mind how long precisely, having little or no money in my purse... grim about the mouth." "Whenever it is a damp, drizzly November in my soul, whenever I find myself knocking people's hats off, then I account it high time to get to sea as soon as I can."

 * Spurgeon Tanner: Could I bother everyone for a minute? Let's take a look at the big one. Now the outgassing has created a vent a half a mile wide and at least two miles deep. Comet gets closer to to the sun, sun melts the ice, ice turns to steam, we get a big hole, O.K.? So, how many nukes we have left in the back?
 * Mikhail Tulchinsky: We have four.
 * Spurgeon Tanner: If we get the remaining bombs in that vent, there shouldn't be anything left in that comet bigger than a suitcase. We can't do anything about the little one, but it just might give them a chance. Without the arming codes, we're going to have to wait to set the bomb timers until we get closer to Earth to raise Houston.
 * Mikhail Tulchinsky: We may not have enough life support left to get back into the cargo bay for the nukes, much less go down with the comet.
 * Mark Simon: We sure as hell don't have enough propellant left in the Messiah to manuever with. How do we set the nukes inside the comet and get out before they blow?
 * Oren Monash: We don't.
 * Andrea Baker: Look on the bright side. We'll all have high schools named after us.

 * Jenny Lerner: When I was 11, I stole $32 from your wallet.
 * Jason Lerner: When you were a baby, I once dropped you on your head.
 * Jenny Lerner: When you came to the studio and brought me those pictures, I lied when I said I didn't remember. I remember everything, I remember that we were right over there, and that's when Mom got that picture of the house. It was a perfect happy day. I came down here to let you know that.
 * Jason Lerner: Thank you.
 * Jenny Lerner: I've missed you since then.
 * Jason Lerner: [embraces her] I missed you too.

 * Andrea Baker: It's a pleasure serving with you, Commander.
 * Spurgeon Tanner: The honor is all mine, Andy.

Taglines

 * Heaven and Earth are about to collide.
 * Cities fall. Oceans rise. Hope survives.

Cast

 * Robert Duvall - Captain Spurgeon "Fish" Tanner
 * Tea Leoni - Jenny Lerner
 * Elijah Wood - Leo Biederman
 * Vanessa Redgrave - Robin Lerner
 * Maximilian Schell - Jason Lerner
 * Rya Kihlstedt - Chloë Lerner
 * James Cromwell - Alan Rittenhouse
 * Ron Eldard - Oren Monash
 * Jon Favreau - Dr. Gus Partenza
 * Laura Innes - Beth Stanley
 * Mary McCormack - Andrea "Andy" Baker
 * Richard Schiff - Don Biederman
 * Leelee Sobieski - Sarah Hotchner
 * Blair Underwood - Mark Simon
 * Morgan Freeman - President Tom Beck
 * Dougray Scott - Eric Vennekor
 * Kurtwood Smith - Otis Hefner
 * Charles Martin Smith - Dr. Marcus Wolf

title: Deep Impact


text:
Constantine P. Cavafy

Constantine P. Cavafy, also known as Konstantin or Konstantinos Petrou Kavafis, or Kavaphes (Greek Κωνσταντίνος Π. Καβάφης) (29 April 1863 – 29 April 1933) was a Greek poet who is often ranked among most important literary figures of the 20th century.

Quotes

This city will always pursue you.''' You'll walk the same streets, grow old in the same neighbourhoods, turn grey in these same houses. You'll always end up in this city. Don't hope for things elsewhere: there's no ship for you, there's no road. Now that you've wasted your life here, in this small corner, you've destroyed it everywhere in the world.
 * '''You won't find a new country, won't find another shore.
 * "The City", st. 2 (1910)

wish always that your course be long, full of adventure, full of lore.'''
 * '''When setting out upon your way to Ithaca,
 * "Ithaka", l. 1 (1911)

not only the beds you lay on, but also those desires glowing openly in eyes that looked at you, trembling for you in voices.
 * Body, remember not only how much you were loved,
 * "Body, Remember..." (1918)

the noble king, be celebrated as it deserves.''' He was a provident ruler of the country. He was just, wise, courageous. In addition he was that best of all things, Hellenic — mankind has no quality more precious: everything beyond that belongs to the gods.
 * '''People of Kommagini, let the glory of Antiochos,
 * "Epitaph of Antiochos, King of Kommagini" (1923)

with so many incidents, so many details. And, for me, the whole of you has been transformed into feeling.'''
 * '''I created you while I was happy, while I was sad,
 * "In the Same Space" (1929)

and ordered around like precious servants.''' Besides, they wouldn't have thought a pan-Hellenic expedition without a Spartan king in command was to be taken very seriously. Of course, then, "except the Lacedaimonians." '''That's certainly one point of view. Quite understandable.'''
 * '''The Spartans weren't to be led
 * "In The Year 200 B.C." (1931)

Like a line of candles all alight — Golden and warm and lively little candles.'''
 * '''The days of the future stand in front of us
 * "Candles" [Κεριά], as translated by Manolis, in Constantine P. Cavafy: Poems (2008) edited by George Amabile

I don’t want to turn around and see with horror How quickly the dark line is lengthening, How quickly the candles multiply that have been put out.
 * I look before me at my lighted candles,
 * "Candles" [Κεριά], as translated by Manolis, in Constantine P. Cavafy: Poems (2008) edited by George Amabile

triumphant, brilliant in every way, celebrated on all sides, glorified incomparable, we emerged: the great new Hellenic world.
 * And from this marvellous pan-Hellenic expedition,
 * In The Year 200 B. C. (1931)

(let Lord Andronicus and the patriarch suspect him if they like), in wanting us, telling us to become pagan once again.
 * He wasn’t completely wrong, poor old Gemistus
 * "After the Swim" as translated by Daniel Mendelsohn

All of morality’s laws – poorly understood and applied – are nil and cannot stand even for a moment, when the Regiment of the Senses parades by, with music, and with banners.
 * Speak not of guilt, speak not of responsibility. When the Regiment of the Senses parades by, with music, and with banners; when the senses shiver and shudder, it is only a fool and and an irreverent person that will keep his distance, who will not embrace the good cause, marching towards the conquest of pleasures and passions.
 * The Regiment of the Senses as translated by Manuel Savidis

Waiting for the Barbarians (1904)

 * Full text online – Translation by Edmund Keeley and Philip Sherrard (1992)

 * What are we waiting for, assembled in the forum? The barbarians are due here today.
 * l. 1

wearing their embroidered, their scarlet togas? Why have they put on bracelets with so many amethysts, rings sparkling with magnificent emeralds? Why are they carrying elegant canes beautifully worked in silver and gold? Because the barbarians are coming today and things like that dazzle the barbarians.
 * Why have our two consuls and praetors come out today
 * l. 16

(How serious people's faces have become.) Why are the streets and squares emptying so rapidly, everyone going home lost in thought? Because night has fallen and the barbarians haven't come. And some of our men who have just returned from the border say there are no barbarians any longer. '''Now what's going to happen to us without barbarians? Those people were a kind of solution.'''
 * Why this sudden bewilderment, this confusion?
 * l. 26

To Have Taken The Trouble (1930)

 * Full text online

This fatal city, Antioch, has devoured all my money: this fatal city with its extravagant life.
 * I'm practically broke and homeless.
 * l. 1

I'll try to be useful to the country. That's what I intend. But if they frustrate me with their manoeuvres — we know them, those smart operators: no need to say more here — if they frustrate me, it's not my fault.
 * Whatever job they give me,
 * l. 18

And my conscience is quiet about my not caring which one I choose: the three of them are equally bad for Syria. But, a ruined man, it's not my fault. I'm only trying, poor devil, to make ends meet. '''The almighty gods ought to have taken the trouble to create a fourth, a decent man. I would gladly have gone along with him.'''
 * One of the three will want me anyway.
 * l. 28

Collected Poems (1992)

 * As translated by Edmund Keeley and Philip Sherrard; edited by George Savidis, published online at The Official Website of the Cavafy Archive

I’ve always been most punctilious about important things.''' And I insist that no one knows better than I do the Holy Fathers, or the Scriptures, or the Canons of the Councils.
 * '''The frivolous can call me frivolous.
 * A Byzantine Nobleman in Exile Composing Verses

to every quarter where Christians live; and these God-fearing people, elated, stand in their doorways and greet it reverently, the strength, the salvation of the universe, the Cross.
 * The holy Cross goes forward; it brings joy and consolation
 * A Great Procession of Priests and Laymen

The vile, the appalling Julian reigns no longer.
 * The empire is delivered at last.
 * A Great Procession of Priests and Laymen

Yet it seems he was young just yesterday. So brief an interval, so very brief.''' And he thinks of Prudence, how it fooled him, how he always believed — what madness — that cheat who said: “Tomorrow. You have plenty of time.”
 * '''He knows he’s aged a lot: he sees it, feels it.
 * An Old Man

he sacrificed. Every chance he lost now mocks his senseless caution.'''
 * '''He remembers impulses bridled, the joy
 * An Old Man

at least try as much as you can not to degrade it by too much contact with the world, by too much activity and talk.
 * And if you can’t shape your life the way you want,
 * As Much As You Can

the attraction between them had gradually diminished, the attraction had diminished a great deal. But to be separated, that wasn’t what they themselves wanted.
 * The love they felt wasn’t, of course, what it once had been;
 * Before Time Altered Them

things about to happen.''' Sometimes during moments of intense study their hearing’s troubled: the hidden sound of things approaching reaches them, and they listen reverently, while in the street outside the people hear nothing whatsoever.
 * '''Of what’s to come the wise perceive
 * But the Wise Perceive Things about to Happen

work gone wrong, your plans all proving deceptive — don’t mourn them uselessly.''' As one long prepared, and graced with courage, say goodbye to her, the Alexandria that is leaving. Above all, don’t fool yourself, don’t say it was a dream, your ears deceived you: don’t degrade yourself with empty hopes like these. as befits a man who’s been blessed with a city like this, go without faltering toward the window''' and listen with deep emotion, but not with the entreaties and the whining of a coward, to the sounds — a final entertainment — to the exquisite instruments of that initiate crew, and bid farewell to her, to Alexandria, whom you are losing. work gone wrong, your plans all proving deceptive — don't mourn them uselessly: as one long prepared, and full of courage, say goodbye to her, to Alexandria who is leaving.
 * '''Don’t mourn your luck that’s failing now,
 * The God Abandons Antony (1911).
 * Variant translations:
 * '''Like one who’s long prepared, like someone brave,
 * As translated by Daniel Mendelsohn (2009).
 * Don't mourn your luck that's failing now,
 * Unknown translator

— so brave and strong, so young — the horses of Achilles began to weep'''; their immortal nature was upset deeply by this work of death they had to look at.
 * '''When they saw Patroklos dead
 * The Horses of Achilles

they certainly were. But they had the satisfaction that their life was the notorious life of Antioch, delectably sensual, in absolute good taste. To give up all this, indeed, for what? His hot air about the false gods, his boring self-advertisement, his childish fear of the theatre, his graceless prudery, his ridiculous beard.
 * Immoral to a degree — and probably more than a degree —
 * Julian and the Antiochians

praise for Greek ideals, supernatural magic, visits to pagan temples.''' Enthusiasm for the ancient gods
 * '''Things impolitic and dangerous:
 * Julian in Nicomedia

the talk it has aroused must be stopped at all cost. — So Julian goes to the church at Nicomedia, a lector again, and there with deep reverence he reads out loud passages from the Holy Scriptures, and everyone marvels at his Christian piety.
 * The matter, says Mardonios, has gone too far,
 * Julian in Nicomedia

But even so they couldn’t play as he could (brought up a Christian) with a new religious system, ludicrous in both theory and application. They were, after all, Greeks. Nothing in excess, Augustus.
 * His friends weren’t Christians; that much was certain.
 * Julian Seeing Contempt

that we’ve driven them out of their temples, doesn’t mean at all that the gods are dead.''' O land of Ionia, they’re still in love with you, their souls still keep your memory. because we have expelled them from their fanes, in no wise are they dead for that — the gods.''' Land of Ionia, it is you they love still — you whose memories still delight their souls.
 * '''That we’ve broken their statues,
 * Ionic.
 * Variant translation: '''Because we have broken up their images,
 * Poems by C. P. Cavafy as translated by John Cavafy (2003)

will have to transcend obedience and respect. He'll hold to some laws but he'll mostly violate both law and custom, and go beyond the established, inadequate norm.''' Sensual pleasures will have much to teach him. He won't be afraid of the destructive act: half the house will have to come down. This way he'll grow virtuously into wisdom.
 * '''He who hopes to grow in spirit
 * Growing in Spirit (1903)

so appear the longings that have passed without being satisfied, not one of them granted a night of sensual pleasure, or one of its radiant mornings.
 * Roses by the head, jasmine at the feet —
 * Longings

Easy to guess what lies ahead: all of yesterday’s boredom. And tomorrow ends up no longer like tomorrow.'''
 * '''A month passes by and brings another month.
 * Monotony

the utterance of the Delphic Oracle: “Beware the age of seventy-three.” Plenty of time to enjoy himself still. He’s thirty. The deadline the god has given him is quite enough to cope with future dangers.
 * Nero wasn’t worried at all when he heard
 * Nero’s Deadline

secretly musters and drills his army — Galba, the old man in his seventy-third year.
 * And in Spain Galba
 * Nero’s Deadline

and one would ask the other if he knew him, if he was a Greek from Syria, or a stranger. But some who looked more carefully would understand and step aside'''; and as he disappeared under the arcades, among the shadows and the evening lights, going toward the quarter that lives only at night, with orgies and debauchery, with every kind of intoxication and desire, they would wonder which of Them it could be, and for what suspicious pleasure he had come down into the streets of Selefkia from the August Celestial Mansions.
 * '''The people going by would gaze at him,
 * One of Their Gods

should make you happy and proud. To have come this far is no small achievement: what you have done is a glorious thing.''' Even this first step is a long way above the ordinary world. To stand on this step you must be in your own right a member of the city of ideas. And it is a hard, unusual thing to be enrolled as a citizen of that city. '''Its councils are full of Legislators no charlatan can fool.'''
 * '''Just to be on the first step
 * The First Step

And if you cannot curb your ambitions, at least pursue them hesitantly, cautiously. And the higher you go, the more searching and careful you need to be.
 * Guard, O my soul, against pomp and glory.
 * The Ides of March

be careful how you attain your eminence.'''
 * '''If you are one of the truly elect,
 * Theodotos

define and guard a Thermopylae.''' Never betraying what is right, consistent and just in all they do but showing pity also, and compassion; generous when they are rich, and when they are poor, still generous in small ways, still helping as much as they can; always speaking the truth, yet without hating those who lie.
 * '''Honor to those who in the life they lead
 * Thermopylae

will be more suitable, will be more gracious when the Shades arrive, the Shades of Love.
 * One candle is enough. Its gentle light
 * To Call Up the Shades

But the windows are not there to be found — or at least I cannot find them. And perhaps it is better that I don’t find them. '''Perhaps the light will prove another tyranny. Who knows what new things it will expose?'''
 * It will be a great relief when a window opens.
 * The Windows

those erotic visions of yours, however few of them there are that can be stilled. Put them, half-hidden, in your lines.
 * Try to keep them, poet,
 * When They Come Alive

let no one try to find out who I was.'''
 * '''From all I did and all I said
 * Hidden Things

my most veiled writing — from these alone will I be understood.
 * From my most unnoticed actions,
 * Hidden Things

κανένας ἄλλος καμωμένος σὰν ἐμένα βέβαια θὰ φανεῖ κ’ ἐλεύθερα θὰ κάμει. someone else made just like me is certain to appear and act freely.'''
 * Κατόπι — στὴν τελειοτέρα κοινωνία —
 * '''Later, in a more perfect society,
 * Hidden Things

appeared before you.''' And if they left, don’t think for a minute that they were frightened by a gesture.
 * '''The greatest gods of our glorious Greece
 * Julian at the Mysteries

a man who loved peace (his country had suffered much from the wars of his predecessor), he behaved graciously toward everyone, humble and great alike. Never high-handed, he always sought advice in the kingdom’s affairs from serious, experienced people. Just why his nephew killed him was never precisely explained.
 * He was a quiet, gentle man,
 * King Claudius (inspired by the story of Hamlet by William Shakespeare)

like an aesthete.''' Only, fortunate as you’ve been, remember how much your imagination created for you.
 * '''On hearing about powerful love, respond, be moved
 * On Hearing of Love

and how very different we’ll appear. What we protect here like sleepless guards, wounds and secrets locked inside us, protect with such great anxiety day after day, we’ll disclose freely and clearly down there.
 * How much we’ll tell down there, how much,
 * “The Rest I Will Tell to Those Down to Hades”

Faded away behind him And he sailed swiftly westward Toward Iberia and the Pillars of Hercules, Far from every Achaean sea, He felt he was alive once more, Freed from the oppressive bonds Of familiar, domestic things. And his adventurous heart rejoiced Coldly, devoid of love.
 * As the shores of Ithaca gradually
 * Second Odyssey, as translated by Walter Kaiser

When the Watchman Saw the Light (1900)

 * Full text online, with link to Greek original

it brings less joy than one expected.''' But at least we've gained this much: we've rid ourselves of hope and expectation.
 * '''Now the longed-for signal has appeared. Yet when happiness comes

The light is good; and those coming are good, their words and actions also good. And let's hope all goes well.''' But Argos can do without the house of Atreus. Ancient houses are not eternal.
 * '''So let's not exaggerate.

We should listen. But we won't be deceived by words such as Indispensable, Unique, and Great.''' Someone else indispensable and unique and great can always be found at a moment's notice.
 * '''Of course many people will have much to say.

Poems by C. P. Cavafy (2003)

 * As translated by John Cavafy

defective, more perplexing than before, shall all things fare; until, as in a mist, we stray bewildered. Then we shall desist. For in that helpless hour the gods attend. They always come, the gods. They will descend from their machines, and straightway liberate some and as suddenly exterminate others; and having reformed us, they will go. — And afterward, one will act so; and so another; and in time the rest will do as they needs must. And we shall start anew.
 * We for the best will strive. And always more
 * The Intervention of the Gods

Quotes about Cavafy

 * Arranged alphabetically by author

 * Cavafy has three principal concerns: love, art, and politics in the original Greek sense. … As a witness, Cavafy is exceptionally honest. He neither bowdlerizes nor glamorizes nor giggles. The erotic world he depicts is one of casual pickups and short-lived affairs. Love, there, is rarely more than physical passion, and when tenderer emotions exist, they are almost always one-sided. At the same time, he refuses to pretend that his memories of sensual pleasure are unhappy or spoiled by feelings of guilt.
 * W. H. Auden, "C. P. Cavafy," from Forewords and Afterwords (1973)

 * Cavafy's attitude toward the poetic vocation is an aristocratic one. His poets do not think of themselves as persons of great public importance and entitled to universal homage, but, rather, as citizens of a small republic in which one is judged by one's peers and the standard of judgment is strict.
 * W. H. Auden, "C. P. Cavafy," from Forewords and Afterwords (1973)

 * Cavafy is intrigued by the comic possibilities created by the indirect relation of poets to the world. While the man of action requires the presence of others here and now, for without the public he cannot act, the poet fabricates his poem in solitude.
 * W. H. Auden, "C. P. Cavafy," from Forewords and Afterwords (1973)

 * In his poems about the relations between Christians and Pagans in the age of Constantine, Cavafy takes no sides. Roman Paganism was worldly in the sense that the aim of its ritual practices was to secure prosperity and peace for the state and its citizens. … after Constantine, it was the Christian who had a better chance than the Pagan of getting on in the world, and the Pagan, even if not persecuted, who became the object of social ridicule.
 * W. H. Auden, "C. P. Cavafy," from Forewords and Afterwords (1973)

 * From his biographers we know how cautious and reserved Cavafy was, how reluctant to talk about himself. Although he frequented cafes and saw many people, his loneliness remained unalleviated. This poem is a rather unusual confession for the poet, especially since it comes so early in his life: Now that you've wasted your life here, in this small corner, you've destroyed it everywhere in the world. The "City" is a summing up of the poet's life, starting with the desire for escape, for a journey, the last hope for a new beginning and ending with the realization that the journey is impossible because once a life has been ruined in one city it will be the same in any other. What separates him from society will not change from city to city.
 * Carmen Capri-Karka (K. Kaprē-Karka), in Love and the Symbolic Journey in the Poetry of Cavafy, Eliot, and Seferis (1982), p. 37

 * He has the strength (and of course the limitations) of the recluse, who, though not afraid of the world, always stands at a slight angle to it.
 * E. M. Forster, "The Poetry of C.P. Cavafy," from Pharos and Pharillon (1923)

 * He wrote consistently but almost never published through traditional means. There is nothing more detrimental to art, he maintained, than succumbing to “how the public thinks and what it likes and what it will buy.” … Whether Cavafy is describing an ancient political intrigue or an erotic encounter that occurred last week, his topic is the passage of time. … Earlier translators have, to varying degrees, rightly emphasized the prosaic flatness of Cavafy’s language; the flatness is crucial to the emotional power of the poems, since it prevents their irony from seeming caustic, their longing from seeming nostalgic.
 * James Longenbach, in "A Poet’s Progress" in The New York Times (17 April 2009)

 * The focal point of Greek-American cultural interest has definitely shifted in recent decades. Where formerly there was a somewhat affected and strained focus on classical Hellas, the contemporary awareness is much more in tune with the literature of modern Greece. This shift has almost been entirely due to the increasing availability of English translations of modern Greek writings, for not many American-born Greeks comfortably read novels or poetry in the original Greek. The beginnings of the new mood can be traced to the translations of the novels of Nikos Kazantzakis in the 1950s. These also stimulated interest in other Greek writers, notably the poets Constantine P. Cavafy, a product of the Greek diaspora in Alexandria, Egypt, and George Seferis, who won the Nobel literature prize in 1963.
 * Peter C. Moskos, Greek Americans: Struggle and Success (2013)

 * He was a man who starts at a certain age with all signs showing that he's unable to produce anything of importance. And then, by refusing and refusing things which are offered him, in the end he finds, he sees, as they say; he becomes certain that he's found his own expression. It's a splendid example of a man who, through his refusals, finds his way.
 * George Seferis, interview with Edmund Keeley (December 1968), from Writers at Work: The Paris Review Interviews, 4th series (1977)

title: Constantine P. Cavafy


text:
Collective Soul

Collective Soul is an American alternative rock/post-grunge band originally from Stockbridge, Georgia, formed in 1992. Now based in Atlanta, the group consists of lead vocalist Ed Roland, rhythm guitarist Dean Roland, bassist Will Turpin, drummer Johnny Rabb and lead guitarist Jesse Triplett. Formed in 1992

Song lyrics
All songs written by Ed Roland, except as noted.

Hints, Allegations and Things Left Unsaid (1993)

 * You won't always get the thunder to warn you of storms ahead So bury all this pain and get on with your life again
 * "Sister Don't Cry"

 * Teach me how to speak Teach me how to share Tell me where to go Tell me will love be there?
 * "Shine"

Collective Soul (1995)

 * I drink myself of newfound pity Sitting alone in New York City And I don't know why
 * "The World I Know", written by Ed Roland and Ross Childress

 * I walk up on high And I step to the edge To see my world below And I laugh at myself As my tears roll down 'Coz it's the world I know, it's the world I know
 * "The World I Know"

 * Why follow me to higher ground, Lost as you swear I am? Don't throw away your basic needs: Ambiance and vanity. Don't scream about, don't think aloud, Turn your head now baby just spit me out. Don't worry about, don't speak of doubt, Turn your head now baby just spit me out.
 * "December"

 * Now my water's turned to wine And these thoughts I have I now can claim as mine
 * "Reunion"

Disciplined Breakdown (1997)

 * New meanings to the words I feed upon Wake within my veins elements of freedom
 * "Precious Declaration"

 * Silence creates necessity
 * "Listen"

 * When you're willing to render To the guilt you concede... When truth is your reason, Then lay the blame on me... When you unveil a conscience, And with peace you agree... When love is your constant, Then lay the blame on me.
 * "Blame"

Dosage (1999)

 * Complicate this world you wrapped for me, I'm acquainted with your suffering. All your weight it falls on me; It brings me down. All your weight it falls on me, It falls on me.
 * "Heavy"

 * For what's in a day of a dandy life? For what's in a day of this dandy life? Everything, everything, everything.
 * "Dandy Life", written by Ross Childress

There's something more than the world out there.
 * And here I lie with words to swear
 * "Compliment"

 * She said she can't look back to her days of youth What she thought were lies she later found was truth
 * "She Said"

Blender (2000)

 * In the air I'm tasting your perfection, Forgive me dear for my misdirection. As I crawl beneath this torture you adore, I fall face to face with my scars you've ignored.
 * "Why, Pt. 2"

 * Well it's ten years later and still I haven't a clue
 * "10 Years Later"

 * Well I would walk a million miles To give her all that she needs But she would walk a million more To do what she believes
 * "Perfect Day"

 * We know There's no longer shine on this burned-out rainbow
 * "After All"

 * Got a photograph Of a smile Taken way back when We could smile
 * "Over Tokyo"

Youth (2004)

 * Was it him? Was it me? Were his lies easier than my truth to believe?
 * "Him"

 * And the rain comes Just like a bed of nails And the rain comes Just like summer in Hell
 * "Him"

 * Hey, Baby, are you listening? I've battened all the hatches down. I've taken all of your prescriptions, But no remedy I've found. Counting the days (Yeah) Until some freedom can scream my name. Counting the days (Yeah) Until the gods break these chains.
 * "Counting the Days"

title: Collective Soul


text:
Tick, Tick... BOOM!

Tick, Tick... BOOM! (2001) is a musical, written by Jonathan Larson, about a starving artist in New York City who is worried he has made the wrong career choice to be part of the performing arts.

Jon

 * Opening lines, over the sound of ticking The sound you are hearing is not a technical problem. It is not a musical cue. It is not a joke. It is the sound of one man's mounting anxiety. I ... am that man. ...Hi.

 * In one week I’ll be thirty. Three-zero. Older than my Dad was when I was born. Older than Napoleon was when he ... did something that was probably extremely impressive at the time – I’m not a historian. I’m a composer. Sorry, a “promising young composer.” I should have kids of my own by now, a career, but instead I've been "promising" for so long I'm afraid I'm starting to break the fucking promise.

 * So that’s where we are. It’s a Saturday night in January, 1990, in my apartment on the edge of SoHo; I’m trying to work, trying to enjoy what remains of my extremely late 20s, trying to ignore the tick tick booms.

 * It's no big deal. What's thirty? Just, you know, the end of youth.

 * Goddamn it, I am looking forward to it!

 * I realize I've forgotten how to play the piano completely. Holy shit, have I forgotten how to play the piano because I don't want to play Happy Birthday because I don’t want to –- Oh God – grow up?

 * Michael's moving out. He's making so much money he bought an apartment with the bathtub in the bathroom.

 * And if there's enough buzz the show might be produced and if the show is produced it might be a hit -- and if it is I won't have to take the marketing job and I can buy the BMW anyway and I will have done it all before I'm thirty, or at least I can fudge the dates to make it sound that way in my Sunday Times Arts & Leisure Profile. I am not proud of this line of thinking. But it's not my fault! It's hard for people born after 1960 to be idealistic or original. We know what happens to ideals. They're assassinated or corrupted or co-opted. It's 1990 for God's sake. It is not an exciting period. It is not a period of ferment. It's fucking stodgy is what it is -- conservative, complacent, obtuse and unimaginative. Or, to put it another way: George Bush is president of the United States.

 * The lights from the prison barge flicker in her eyes.

 * 6 AM. The sky glows. Somewhere a bird chirps. I want to shoot it.

 * I want to write music. I want to sit down right now at my piano and write a song that people will listen to and remember, and do the same thing every morning for the rest of my life.

 * I sink into a soft leather seat. Michael guns twelve fuel-injected Bavarian-engineered market-research-funded cylinders across Houston Street. His new Beamer ... is fucking awesome.

 * We zhhhooooom -- past the inhabitants of SOHO, wearing black, black, black, black... Past the East Village kids with purple pink green blue spike-buzz cuts, jutting through deconstructed SILENCE = DEATH t-shirts... Past the Windex, the squeegies, the outstretched palms, the Bowery Night Train philosophers... How can I possibly leave this behind?

 * Once, at a seminar, on a day I will never forget, I got to have my work picked apart -- and praised, a little -- by my idol, a composer-lyricist so legendary his name may not be uttered aloud by me, St S---. But I write musicals with rock music. A contradiction in terms. Broadway's about 60 years behind anything you hear on the radio. You can't put rock onstage – real rock, not warmed-over easy-listening pop, not plastic imitation 50s bubblegum. Nevertheless, that's what I'm trying to do with Superbia. Could my show end up here? Is it good enough for Broadway, that magical street of dreams? Is it too good for Broadway, that shameless commercial whore? It's that raging mix of envy and contempt that's so ... healthy.

 * I grew up on Tony the Tiger and Captain Crunch, but unlike other Boomer Juniors haven't progressed to more socially accepted fixes, like Ben and Jerry's. I go for the original high-powered numb-busting goodness of the Hostess Twinkie Snack Cake. The only problem is, it's humiliating to buy a Twinkie. I walk up to the counter feeling like I'm 17 and buying condoms for the first time.

 * They're snack cakes. They're not unlike rice cakes, only cylindrical and injected with cream.

 * Maybe this is it. Maybe I really have written the show that will reinvent musicals for our generation -- the Hair of the 90s -- the cultural lightening rod that will energize the 20-something generation, we "slackers," raised on the Brady Bunch and Reaganomics, armed with nothing but Credit Cards, VCRs and Interview Magazine, blowing like tumbleweeds through the 90s, fighting off the savage arrows of apathy, illiteracy, innumeracy, exploding Visa bills, eating disorders, sexually transmitted diseases, political correctness....

 * The apartment is warm and noisy. I realize I don't want to escape to the roof, or fly to Cuba, or hide in the bathroom.

 * Referring to a bithday cake lit by candles The darkness is pierced by a blinding glow.

 * The tick tick booms are softer now. I can barely hear them, and I think if I play loud enough I can drown them out completely.

Other

 * Susan: I am a dancer. I'd still be a dancer if I lived in New England, but I'd have a dishwasher.

 * Susan: Jon. Are you weighing whether the trip up here is worth the cable TV?

 * Rosa: Honey, we always knew it's a little quirky for Broadway, and the cast is awfully big for Off-, and the futuristic thing means sets are expensive and musical theater is Newark Airport and you're snowed in at Buffalo -- and now, having plucked out your heart and eaten it like a piece of ripe fruit I'll leave you to sweep up the fragments of your shattered dreams, bye bye honey! Happy birthday!

Dialogue

 * Michael: Thirty's great. Thirty's like Newark Airport.
 * Jon: Newark Airport?
 * Michael: Hard to get to, but once you're here, fewer delays.
 * Jon: Mike spends way too much time traveling on business.

 * Jon: Has turning thirty always sucked? Or is our generation different because we've never grown up? Never had a real test. A Depression. A World War, Vietnam -- Maybe that's what I need.
 * Susan: Good idea. I'll try to arrange that for you.

 * Michael: Check out the seat.
 * Jon: The seat? ...The seat is heated.
 * Michael: And you can adjust it.
 * Jon: This is a car that allows you to adjust the temperature of your ass.

 * Michael: What do you think?
 * Jon: Back home in Soho, Michael is trying on one of three new Gucci belts he's just bought.
 * Michael: Well?
 * Jon: I don’t know, Mike. I haven't owned three belts over the course of my entire life.
 * Michael: Try it. It's a good feeling.

 * Michael: How's Susan?
 * Jon: Okay.
 * Michael: Just okay?
 * Jon: She wants us to move to Cape Cod.
 * Michael: I am so sorry.

 * Susan:That's not what I'm saying.
 * Jon:That's what you're inferring.
 * Susan: No, you mean that's what I'm implying. And I'm not implying it, you inferred it.

 * Jon:Hi, yeah, I'll just take these, uh, double-A batteries, and a pack of the Bic pens, and uh, a Wall Street Journal, and a Mademoiselle...
 * Counter Guy: And four packages of Twinkies.
 * Jon: Right.

 * Jon: I can't do this Mike.
 * Michael: Uh?
 * Jon: The theater, the music. I gave it my shot. I think I've given it an honest try, with all the talent and effort I've got. And it hasn’t worked. I'm not sorry I tried. I'm proud of it, but now it's time to take hard look at my situation and not be egotistical, not delude myself, just admit it's time to move on. I've been stuck. Everyone else, you and Susan, have kept moving. I'm the only one still here banging my head against the wall. My head hurts. I'm going to stop for awhile. The thing is, I can always come back to it, if I want, when I'm older, when I'm smarter, when I've figured out a little more clearly what it is I want to do. ...I feel better. Just hearing myself say it, I already feel better.
 * Michael: You're right. I think your heart is telling you something, and I think what you're saying takes courage. I think it takes courage to let all that stuff go. I'm proud of you.
 * Jon: You are?
 * Michael: No, of course not, you fucking idiot.

 * Michael: Fear is like Newark Airport--
 * Jon: Screw Newark Airport!

 * Jon: He tosses me a box. I open it. Three belts. Gucci?
 * Michael: Not Gucci. You're not a Gucci guy. But it's life-affirming to own multiple accessories, and I want you experience that.

Songs

 * THIRTY/NINETY
 * Jon: Years are getting shorter, lines on your face are getting longer. Feels like you're treading water, but the rip tide's getting stronger. Don't panic, don't jump ship, can't fight it, like taxes.

 * Jon: Turn thirty, 1990, bang, you're dead -- what can you do?

 * Jon: Friends are getting fatter, hairs on your head are getting thinner. Feel like a cleanup batter on a team that ain't a winner.

 * Jon: Peter Pan and Tinkerbell, which way to Never-NeverLand? Emerald City's gone to Hell since the Wizard blew off his command. On the street you hear the voices, lost children, crocodiles, but you're not into making choices, wicked witches, poppy fields or men behind the curtain, tiger lillies, ruby slippers, clock is ticking, that's for certain.

 * Jon, Michael and Susan: Fuck thirty ninety!

 * Jon: The world is calling -- it's now or Neverland. Why can't I stay a child forever?

GREEN GREEN DRESS
 * Jon: Soft blonde hair; baby, baby blue eyes. Cool me down before I jump into your thighs.

 * Jon: The green, green dress, twenty buttons and a strap. The green, green dress, what a pleasure to unwrap.

JOHNNY CAN'T DECIDE
 * All: How can you soar if you're nailed to the floor?

SUNDAY
 * All: Forever in the blue silver chromium diner
 * Jon: Drips the green, orange, violet drool
 * All: From the fools
 * Jon: Who'd pay less at home, driking coffee
 * All: Light and dark
 * Jon: And cholesterol. And bums, bums, bums, bums, bums, bums, bums, bums, bums...

NO MORE
 * Michael: No more walking thirteen blocks with thirty pounds of laundry in the fucking dead of winter.

 * Michael and Jon: No more
 * Jon: Taking a shower in the kitchen
 * Both: While your roommate's eating breakfast and you're getting water on his cornflakes!

 * Both: Hello to dear Mr. Doorman, who looks like Captain Kangaroo.

THERAPY
 * Jon and Susan: I'm not mad that you got mad when I got mad when you said I should go drop dead.

 * Jon: Now it's out in the open.
 * Susan: Now it's off our chest.
 * Both: Now it's four AM, and we have therapy tomorrow, it's too late to screw, so let's just get some rest.

REAL LIFE
 * Michael: Why do we seek out ecstacy
 * Michael and Jon: In all the world places? Why is it hard to see that heaven can have simplier faces?

SUGAR
 * Jon: Sugar, she's refined. For a small price, she blows my mind. Sugar, she's got the power. Soothes my soul for half an hour.

 * Jon and Counter Guy: Stressed out
 * Karessa: Burned out
 * All: Hanging by a string -- sugar, sugar, sugar, I won't feel a thing!

 * Jon: Only thing I know is that she makes my life such a mess.

title: Tick, Tick... BOOM!


text:
The Little Shop of Horrors

The Little Shop of Horrors is a 1960 comedy film about a young man who develops a bloodthirsty plant and is forced to kill in order to feed it.
 * Directed by Roger Corman. Written by Charles B. Griffith.

The funniest picture this year! Taglines

Dialogue

 * Seymour Krelboyne: Did you call me, Mr. Mushnick?
 * Gravis Mushnick: No, I was calling John D. Rockefeller for to make a loan on my Rolls Royce!
 * Seymour Krelboyne: Sorry I said it.

 * Burson Fouch: My name is Burson Fouch.
 * Gravis Mushnick: Excellent. I am Gravis Mushnick.
 * Burson Fouch: Oh, that's a good one.

 * [Fouch purchases half a dozen carnations.]
 * Gravis Mushnick: I'll wrap them for you.
 * Burson Fouch: No, that's all right. I'll eat 'em here.

 * Audrey Fulquard: Why don't you give him a chance to resurrect himself?
 * Gravis Mushnick: I give him chance to quit!
 * Seymour Krelboyne: I ain't gonna quit!
 * Gravis Mushnick: You're a brave boy. You're fired.

 * Burson Fouch: I remember in one flower shop there was a whole wall covered with poison ivy, and people came from miles around to look at that wall — and they stayed to buy.
 * Gravis Mushnick: And the owner got rich?
 * Burson Fouch: No. He scratched himself to death in an insane asylum.
 * Siddie Shiva: Oh! That was my cousin Harry!

 * Det. Sgt. Joe Fink: We just want to ask you a few questions.
 * Gravis Mushnick: I didn't do it.
 * Det. Frank Stoolie: Do what?
 * Gravis Mushnick: Whatever.

 * Audery II: Feed Me!
 * Seymour Krelboyne: Take it easy, Dracula! what do ya think I'm carryin' – my dirty laundry?

Taglines

 * The funniest picture this year!
 * The store with more.

title: The Little Shop of Horrors


text:
User:Old Librarian~enwikiquote

Created pages

 * wikipedia:User:Old Librarian
 * Charles Reis Felix

title: User:Old Librarian~enwikiquote


text:
User talk:200.166.51.236

Please refrain from removing content from Wikiquote, as you did to The Simpsons. It is considered vandalism. If you want to experiment, please use the sandbox. Thank you. —LrdChaos 20:35, 12 June 2006 (UTC)

title: User talk:200.166.51.236


text:
User:ШiІІiam Shakespeare

The contribution history of this account indicates that it was created solely for the purpose of vandalizing Wikiquote, and thus it has been blocked indefinitely from editing. -- Robert 21:45, 12 June 2006 (UTC)

title: User:ШiІІiam Shakespeare


text:
User talk:ШiІІiam Shakespeare

The contribution history of this account indicates that it was created solely for the purpose of vandalizing Wikiquote, and thus it has been blocked indefinitely from editing. -- Robert 21:53, 12 June 2006 (UTC)

title: User talk:ШiІІiam Shakespeare


text: Category:User ru

title: Category:User ru


text: Category:User ru-N

title: Category:User ru-N


text: Category:User ru-1

title: Category:User ru-1


text: Category:User ru-2

title: Category:User ru-2


text: Category:User ru-3

title: Category:User ru-3


text: Category:User ru-4

title: Category:User ru-4


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Wikiquote:Votes for deletion archive/Manus Flanagan

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. — Jaxl 22:42, 12 June 2006 (UTC)

Manus Flanagan
Search for name yields nothing notable. - InvisibleSun 20:01, 29 May 2006 (UTC)

 * Vote closed. Result: delete (3 deletes, no dissent). -- Robert 22:42, 12 June 2006 (UTC)
 * Delete. Likely vanity page. No WP article, only Google hits are for Urban Dictionary (anyone can edit), a discussion board, and a college graduate list. Since the article creator registered a user name, I've posted a vanity-warn to his talk page so we might move these quotes to his user page. ~ Jeff Q (talk) 21:33, 29 May 2006 (UTC)
 * Delete. ~ UDScott 11:55, 30 May 2006 (UTC)
 * Delete, concur with Jeffq. —LrdChaos 14:25, 8 June 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
User:Serpent-A

Greetings!

title: User:Serpent-A


text:
User talk:203.87.98.23

Thank you for experimenting with the page 12 Angry Men (1957) on Wikiquote. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our quotation compendium. -- Robert 00:23, 13 June 2006 (UTC)

title: User talk:203.87.98.23


text:
User talk:Dreamguide

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 00:45, 13 June 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Dreamguide


text:
User talk:Lucyhaege

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 00:45, 13 June 2006 (UTC)
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 * Be bold.

title: User talk:Lucyhaege


text:
User talk:Dozenist~enwikiquote

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 00:45, 13 June 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
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 * Be bold.

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Dozenist. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Dozenist~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:21, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:46, 19 April 2015 (UTC)

title: User talk:Dozenist~enwikiquote


text:
User talk:Leo.donahue

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 00:45, 13 June 2006 (UTC)
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title: User talk:Leo.donahue


text:
User talk:Lsanders3

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 00:45, 13 June 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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 * Be bold.

title: User talk:Lsanders3


text:
User talk:Selenda~enwikiquote

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 00:45, 13 June 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Selenda. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Selenda~enwikiquote that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:35, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 05:57, 19 April 2015 (UTC)

title: User talk:Selenda~enwikiquote


text:
User talk:Winterheart

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 00:45, 13 June 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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 * Be bold.

title: User talk:Winterheart


text:
User talk:TomDonaldson

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 00:45, 13 June 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

Creating a new page (e.g, G E Moore)
I've just replied to your post at the village pump; I'm putting the reply here, too, just in case you forget to check back over there: "I've just reverted the change. The way you would use the template is to open it up for editing like you did, but instead of typing over what's in the box, copy the text to the clipboard, then type 'G E Moore' into the 'search' box to the left and hit 'Go'. Click the red 'create this page' link and then paste the text you copied into the box there, where you can make all the necessary changes and additions. Clicking 'Save' after that will create a new page." If you have any other questions or problems, you can ask at the Village pump, or you can ask me on my talk page. —LrdChaos 19:01, 23 June 2006 (UTC)

title: User talk:TomDonaldson


text:
User talk:Serpent-A

Hi. Welcome to English Wikiquote. Enjoy! -- Robert 00:45, 13 June 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
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Stephen Jay Gould quotation
Please provide at least the title of the essay from which this quotation was taken. If you can do that, I'm willing to do the work of locating it in the text and completing the citation. Otherwise, I'll have to move it to the "Attributed" section since it is not properly sourced. 121a0012 01:45, 13 June 2006 (UTC)

 * Sorry, I can't help you out. I found that quote on a website which only said it was from Bully for Brontosaurus. I don't have a copy of the book, so I'm not in a position to figure out which exact chapter and page number it can be found on. Cheers! Serpent-A 02:10, 13 June 2006 (UTC)

title: User talk:Serpent-A


text:
User talk:207.77.135.68

Please do not use the village pump or any article, user, talk, or policy page for edit testing. Sandbox is the page reserved for any tests that editors might want to perform. Thank you for your cooperation. ~ Jeff Q (talk) 01:16, 13 June 2006 (UTC)

title: User talk:207.77.135.68


text:
Talk:Freaks and Geeks

episodes are in the wrong order, on the wiki they are sorted by the release date, the order below is the proper viewing order.

Season 1, Episode 1: Pilot

Season 1, Episode 2: Beers and Weirs

Season 1, Episode 3: Tricks and Treats

Season 1, Episode 4: Kim Kelly Is My Friend

Season 1, Episode 5: Tests and Breasts

Season 1, Episode 6: I'm with the Band

Season 1, Episode 7: Carded and Discarded

Season 1, Episode 8: Girlfriends and Boyfriends

Season 1, Episode 9: We've Got Spirit

Season 1, Episode 10: The Diary

Season 1, Episode 11: Looks and Books

Season 1, Episode 12: The Garage Door

Season 1, Episode 13: Chokin' and Tokin'

Season 1, Episode 14: Dead Dogs and Gym Teachers

Season 1, Episode 15: Noshing and Moshing

Season 1, Episode 16: Smooching and Mooching

Season 1, Episode 17: The Little Things

Season 1, Episode 18: Discos and Dragons

title: Talk:Freaks and Geeks


text:
Goparaju Ramachandra Rao

Goparaju Ramachandra Rao (aka Gora) (15 November 1902 - 1975) was an Indian social reformer and atheist activist who advocated the abolition of the caste system.

Sourced

 * Further, economic systems … have never arranged themselves by themselves. It is men who do the ordering according to their attitudes, desires and understanding of things. Changes take place, not independent of man's will, but on account of man's wills. Civilization has progressed by man's interference with material conditions.
 * Atheism Questions and Answers

 * Human problems are more psychological than materialistic. This is not only true of individual behaviour, but in mass action also. A suggestion from a leader sparks off a revolution. Material circumstances help mass action, but in themselves do not raise action. The conditions of untouchability and of poverty in India, especially at the time of famine in Bengal in 1945-46, when thousands of destitute died of sheer hunger in the streets of Calcutta City, are such as would provoke an immediate revolution. But the revolution does not come off in the Indian masses. The reason is clear. In India there are revolutionary circumstances, but there is no revolutionary consciousness among the people. If the revolutionary consciousness is present, people would revolt against any injustice on the slightest pretext. And consciousness is essentially psychological.
 * "Switzerland" in An Atheist Around The World

 * Because morality is a social necessity, the moment faith in god is banished, man's gaze turns from god to man and he becomes socially conscious. Religious belief prevented the growth of a sense of realism. But atheism at once makes man realistic and alive to the needs of morality. Atheism alone is the surest way to morality. Those who oppose atheism in any form betray their vested interests in inequality of some kind of other.
 * The Need of Atheism

 * Positive secularism is not tolerance of all religions, but it is the total denial of religious beliefs: it is the emergence of homogeneous human outlook which is based upon verifiable facts of life.
 * Rao (1996) "Significance of Secularism: Atheism is a Way of Live." The Atheist, Vol 28-29 p. 43

 * Religious belief prevented the growth of a sense of realism. But atheism at once makes man realistic and alive to the needs of morality.
 * Atheism: Questions and Answers

 * Soul is as much a falsehood as god is. The stories connected with ghosts, spirit communication, salvation and life after death are fancies of the primitive mind which answered the question of death in a primitive way. Now we understand death as the failure of the mechanism of the body either due to wear and tear or to an accidental obstruction. Advances in medical science can repair the body and can, likely, protect it from death altogether.
 * Atheism: Questions and Answers

 * Real morality is possible when the sanctions for morality are also tangible and real. Therefore, atheism shifts the basis of morality from faith in god to obligations of social living. Moral conduct is not a passport to heaven; it is social necessity.
 * ''Atheism: Questions and Answers

 * Atheism ensures morality. Morality is a social necessity. The immorality of one disturbs the happiness of another in social relations. So checks and counter-checks maintain morality.
 * The Need of Atheism

 * We respect law, when the law respects our needs. Whenever legality clashes with morality, legality should be opposed and morality should be upheld.
 * I Learn

 * Right wins only when we dare and act.
 * I Learn

 * Who takes the blame: the leader who talks of poverty but lives in luxury, or the poor who choose a leader of that type?
 * I Learn

title: Goparaju Ramachandra Rao


text:
August 8

August 8 Quotes of the day from previous years:

 * 2003
 * A man said to the Universe: "Sir, I exist!" "However," replied the Universe, "the fact has not created in me a sense of obligation." ~ Stephen Crane
 * selected by Nanobug

 * 2004
 * It is certainly no part of religion to compel religion. ~ Tertullian
 * selected by Kalki

 * 2005
 * It seems that if one is working from the point of view of getting beauty in one's equations, and if one has really a sound insight, one is on a sure line of progress. ~ Paul Dirac (born 8 August 8 1902)
 * proposed by 121a0012

 * 2006
 * Better to die on your feet than live on your knees! ~ Emiliano Zapata (born 8 August 1879)
 * proposed by Kalki

 * 2007
 * There is a quiet at the heart of love, And I have pierced the pain and come to peace. ~ Sara Teasdale ~ (born 8 August 1884)
 * proposed by InvisibleSun

 * 2008
 * If I am peaceful, I shall see Beauty's face continually; Feeding on her wine and bread I shall be wholly comforted, For she can make one day for me Rich as my lost eternity. ~ Sara Teasdale ~
 * proposed by InvisibleSun

 * 2009
 * If I can find out God, then I shall find Him, If none can find Him, then I shall sleep soundly, Knowing how well on earth your love sufficed me, A lamp in darkness. ~ Sara Teasdale ~
 * proposed by InvisibleSun

 * 2010
 * No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. ~ Shirley Jackson (in The Haunting of Hill House; died 8 August 1965)
 * proposed by Jeff Q

 * 2011
 * Sun-swept beaches with a light wind blowing From the immense blue circle of the sea, And the soft thunder where long waves whiten — These were the same for Sappho as for me. Two thousand years — much has gone by forever, Change takes the gods and ships and speech of men — But here on the beaches that time passes over The heart aches now as then.  ~ Sara Teasdale ~
 * proposed by Kalki

 * 2012
 * proposed by Fossil
 * proposed by Fossil

 * 2013

 * proposed by Jeff Q

 * 2014

 * proposed by Kalki

 * 2015

 * proposed by Kalki, for 70th anniversary of this published reaction of Albert Camus to news of the first use of a nuclear weapon.

 * 2016

 * proposed by Kalki

 * 2017

 * proposed by InvisibleSun

 * 2018

 * proposed by Kalki

 * 2019

 * proposed by Kalki

 * 2020

 * proposed by InvisibleSun

 * 2021

 * proposed by Kalki

 * 2022

 * proposed by Kalki; anniversary of this resignation speech.

 * 2023

 * proposed by MosheZadka

 * 2024 : Rank or add further suggestions…

Suggestions
The ultimate notion of right is that which tends to the universal good; and when one's acting in a certain manner has this tendency he has a right thus to act. ~ Francis Hutcheson (date of birth)
 * 3 Kalki 11:18, 7 August 2005 (UTC) with a lean toward 4.
 * 3 InvisibleSun 22:42, 7 August 2006 (UTC)
 * 1 ~ Jeff Q (talk) 03:06, 7 August 2007 (UTC)
 * 1 Zarbon 15:14, 24 April 2008 (UTC)
 * 1 //Gbern3 (talk) 10:53, 30 July 2013 (UTC)

Make songs for Death as you would sing to Love — But you will not assuage him. He alone Of all the gods will take no gifts from men. ~ Sara Teasdale
 * 3 InvisibleSun 10:08, 7 August 2007 (UTC)
 * 2 Kalki 23:46, 7 August 2007 (UTC)
 * 1 Zarbon 15:14, 24 April 2008 (UTC)
 * 3 //Gbern3 (talk) 10:53, 30 July 2013 (UTC)

Spend all you have for loveliness, Buy it and never count the cost; For one white singing hour of peace Count many a year of strife well lost, And for a breath of ecstasy Give all you have been, or could be. ~ Sara Teasdale ~
 * 3 Kalki 23:46, 7 August 2007 (UTC) with a lean toward 4.
 * 1 Zarbon 15:14, 24 April 2008 (UTC)
 * 1 //Gbern3 (talk) 10:53, 30 July 2013 (UTC)

Military occupation causes terrorism. ~ Chris Eubank
 * 2 Zarbon 05:06, 26 May 2008 (UTC)
 * 1 Kalki 17:10, 5 August 2008 (UTC)
 * 1 //Gbern3 (talk) 10:53, 30 July 2013 (UTC)

Democracy cannot be exported with a gun. ~ Chris Eubank
 * 2 Zarbon 05:06, 26 May 2008 (UTC)
 * 2 Kalki 17:10, 5 August 2008 (UTC)
 * 3 //Gbern3 (talk) 10:53, 30 July 2013 (UTC)

Sleep peacefully people, there will not be a war. ~ Alija Izetbegović
 * 2 Zarbon 05:06, 26 May 2008 (UTC)
 * 1 Kalki 17:10, 5 August 2008 (UTC)
 * 1 //Gbern3 (talk) 10:53, 30 July 2013 (UTC)

But the voice of anatomy, like the voice of all nature, never reaches the mental ear of the Great Commoner. It is the novel province of anatomy to tell the truth, the whole truth, and nothing but the truth about the structure, the origin and the history of man. ~ Henry Fairfield Osborn
 * 4 Fossil 21:34, 7 November 2008 (UTC)
 * 1 Kalki 22:44, 7 August 2009 (UTC)
 * 2 //Gbern3 (talk) 10:53, 30 July 2013 (UTC)

This chain of human ancestors was totally unknown to Darwin. He could not have even dreamed of such a flood of proof and truth. ~ Henry Fairfield Osborn
 * 3 Fossil 21:34, 7 November 2008 (UTC)
 * 1 Kalki 22:44, 7 August 2009 (UTC)
 * 1 //Gbern3 (talk) 10:53, 30 July 2013 (UTC)

Care for the race, even if the individual must suffer -- this must be the keynote of our future. ~ Henry Fairfield Osborn
 * 3 Fossil 21:34, 7 November 2008 (UTC)
 * 1 Kalki 22:44, 7 August 2009 (UTC)
 * 1 //Gbern3 (talk) 10:53, 30 July 2013 (UTC)

title: August 8