Women born in the 1920s

"The White House used to belong to the American people. At least that's what I learned from history books and from covering every president starting with John F. Kennedy. But now the 201-year-old Executive Mansion belongs only to a select, elitist group of people, including top government officials, members of Congress and the press corps. They and some others, all of whom are screened in advance, are welcome. But most people are not — not anymore."

"We were never hyphenated as Arab-Americans. We were American, and I have always rejected the hyphen and I believe all assimilated immigrants should not be designated ethnically. Or separated, of course, by race, or creed either. These are trends that ever try to divide us as a people."

"At the earlier briefing, Ari, you said that the President deplored the taking of innocent lives. Does that apply to all innocent lives in the world? And I have a follow-up... My follow-up is, why does he want to drop bombs on innocent Iraqis? …"

"All presidents rail against the press. It goes with the turf."

"This is the worst president ever. He is the worst president in all of American history."

"I don't speechify. I know the shortest distance between two points is a straight line. And that's what I ask. But they get mad at the straight line. I just want to ask a tough question."

"[I]t took a lot of chutzpah on the part of a lot of newspaper women who came here in the twenties, thirties, forties, and fifties to break down the barriers against women reporters. And we couldn’t even become members of the National Press Corps until 1971 — that’s pretty late in the game. We got the vote, which we should’ve been born with, in 1920. Everything we’ve had to struggle for — it’s ridiculous."

"We've got to break through the wall of secrecy. It's America's fate."

"It's the arrogance of power. "We're in charge. It's our White House. What the hell are you doing here?" Basically toward the Press. "How dare you question anything we do?" They don't understand that the presidential news conference is the only forum in our society where a president can be questioned. If he's not questioned, he can rule by edict; by government order. He can be a monarch. He can be a dictator, and who is to find out? No. He should be questioned and he should always be able to willingly reply and answer to all questions because these aren't our questions. They're the people's questions."

"Every President hates the Press. Every president thinks that all information that comes to the White House is their private preserve after they all promise an open administration on the campaign trail, but some are even more secretive than others. Some want to lock down everything."

"Both Blair and Bush have been found lacking in their credibility. Usually by this time a government would have fallen. I covered two presidents, LBJ and Nixon, who could no longer convince, persuade, or govern, once people had decided they had no credibility, but we seem to be more tolerant now of what I think we should not tolerate."

"Well it wasn't a formal hanging. It was kind of subtle. I had covered him … his first press conference. He dropped down into the press room and started taking questions and everyone asked about the tax cut and I sort of — Ari Fleischer later told me I blindsided him because I said to him, "Mister President, why don't you respect the wall of separation between church and state?" Well, there's a video of him that is so funny. He jerked back as if he had been hit! I mean both barrels! And he said, "I do respect—" I said, "Well if you did, why would you have a religious office in the White House?" (I'm exaggerating, but anyway) and "you're a secular official." And he said "I am secular." Well, anyway, I got a call from Ari after that. After that there was a formal news conference and I did ask him a Middle East question and it wasn't the question per se. They just don't like my boorishness."

"Get into the game!"

"You don't spread democracy through the barrel of a gun."

"I'm a liberal, I was born a liberal, and I will be a liberal till the day I die."

";Helen Thomas"

":I think American policy is pro‐Israel. If you take a vote in Congress, maybe you might get five people vote against any further aid to Israel or to continue its occupation. But that's about it. They control— They have vast power."

":Who's they?"

":The Zionists."

"I mean, they (Obama admistration) have a guy like Dennis Ross at the White House now, who's always been a part of the Israel lobby. They put him in charge of the whole Muslim world."

";David Nesenoff"

":Any comments on Israel? We're asking everybody today, any comments on Israel?"

":Tell 'em to get the hell out of Palestine."

":Ooh. Any better comments than that?"

":Remember, these people are occupied, and it's their land, not German and not Poland's."

":So where should they go? What should they do?"

":They could go home."

":Where is home?"

":Poland. Germany.—"

":So the Jews— You're saying Jews should go back to Poland and Germany."

":—and America and everywhere else. Why push people out of there who are lived there for centuries? See?"

":Now, are you familiar of the history of that region, and what took place?"

":Very much. I'm of Arab background."

"I deeply regret my comments I made last week regarding the Israelis and the Palestinians. They do not reflect my heart-felt belief that peace will come to the Middle East only when all parties recognize the need for mutual respect and tolerance. May that day come soon."

"I paid the price for that, but it was worth it, to speak the truth. The Zionists have to understand that's their country, too. Palestinians were there long before any European Zionists."

"I can call a president of the United States anything in the book but I can't touch Israel, which has Jewish-only roads in the West Bank. No American would tolerate that -- white-only roads… We are owned by the propagandists against the Arabs. We are owned by propagandists against the Arabs. There's no question about that. Congress, the White House, and Hollywood, Wall Street, are owned by the Zionists. No question in my opinion. They put their money where their mouth is…We're being pushed into a wrong direction in every way."

"If we could get them back to the '67 borders it certainly would be a triumph, but they're not about to move anywhere. They keep taking and keep bulldozing homes on the West Bank. They have Jewish-only roads. They would never tolerate that here...My view is that you should not create another nation in somebody else's country, and the Palestinians were 85 percent in the majority, until they began the immigration for the Jews and for the Zionists because they had designated Jerusalem as their home, that God gave it to them. Well, I mean, that's— what God? Who? And so forth. Everything like that is just very debatable. Jews have been persecuted all over the world. There's no question about that. Certainly the Nazis—. I mean, it's too horrifying to think of what they did and the silence in the world when it was happening. At the same time, they aren't the only ones who fought in World War II. I had— my brothers, two brothers, were there. All my relatives. Every American was involved. So it isn't a question of the Holocaust was a simple thing going on. The Russians lost 25 million people."

"Not a secret. It’s very open."

"I don't have to answer questions from Helen Thomas."

"Helen Thomas, who I used to consider a close friend and who I used to respect, has showed herself to be an anti-Semitic bigot."

"I don't want to beat an old horse, but it's a bit unfair to compare Helen Thomas to Hezbollah. Clearly, Helen only endorses religious cleansing; she doesn't openly support genocide."

"For several decades, Helen Thomas covered the White House as a reporter for United Press International.... and when the specter of war grew large in 2002, she didn’t hold back. "It’s bombs away for Iraq and on our civil liberties if Bush and his cronies get their way," Thomas said... during a speech at MIT. Looking back on a long career, she said: "I censored myself for fifty years when I was a reporter.""

"David Galin, among other researchers, has pointed out that teachers have three main tasks: first, to train both hemispheres — not only the verbal, symbolic, logical left hemisphere, which has always been trained in the traditional education, but also the relational, holistic right hemisphere, which is largely neglected in today's schools; second, to train students to use the cognitive style suited to the tasks at hand; and third, to train students to be able to bring both styles — both hemispheres — to bear on a problem in an integrated manner. When teachers can pair the complementary modes or fit one mode to the appropriate task, teaching and learning will become a much more precise process. Ultimately, the goal will be to develop both halves of the brain. Both modes are necessary for full human functioning and both are necessary for creative work of all kinds, whether writing or painting, developing a new theory in physics, or dealing with environmental problems."

"This is a difficult goal to present to teachers, coming as it does at a time when education is under attack from many quarters. But our society is changing rapidly and the difficulties of foreseeing what kinds of skills future generations will require are increasing. Although we have so far depended on the rational, left half of the human brain to plan our children's future and to solve the problems they might encounter on the way to that future, the onslaught of profound change is shaking our confidence in technological thinking and in the old methdods of education. Without abandoning training in tradtional verbal and computational skills, concerned teachers are looking for teaching techniques that will enchance children's intuitive and creative powers, thus preparing students to meet new challenges with flexibility, inventiveness, and imagination and with the ability to grasp complex arrays of interconnected ideas and facts, to perceive underlying patterns of events, and to see old problems in new ways."

"As a teacher and parent, I've had a very personal interest in seeking new ways of teaching. Like most other teachers and parents, I've been well aware — painfully so, at times — that the whole teaching/learning process is extraordinarily imprecise, most of the time a hit-and-miss operation. Students may not learn what we think we are teaching them and what they learn may not be what we intended to teach them at all."

"I remember one clear example of the problem of communicating what is to be learned. You may have heard of or gone through a similar experience with a student or your child. Years ago, the child of a friend whom I was visiting arrived home from his day at school, all excited about something he had learned. He was in the first grade and his teacher had started the class on reading lessons. The child, Gary, announced that he had learned a new word. "That's great, Gary," his mother said. "What is it?" He thought for a moment, then said, "I'll write it down for you." On a little chalkboard the child carefully printed, HOUSE. "That's fine, Gary," his mother said. "What does it say?" He looked at the word, then at his mother and said matter-of-factly, "I don't know."The child apparently had learned what the word looked like — he had learned the visual shape of the word perfectly. The teacher, however, was teaching another aspect of reading — what words mean, what words stand for or symbolize. As often happens, what the teacher had taught and what Gary had learned were strangely incongruent.As it turned out, my friend's son always learned visual material best and fastest, a mode of learning consistently preferred by a number of students. Unfortunately, the school world is mainly a verbal, symbolic world, and learners like Gary must adjust, that is, put aside their best way of learning and learn the way the school decrees. My friend's child, fortunately, was able to make this change, but how many other students are lost along the way?"

"As parents, we can do a great deal to further this goal by helping our children develop alternative ways of knowing the world — verbally/analytically and visually/spatially. During the crucial early years, parents can help to shape a child's life in such a way that words do not completely mask other kinds of reality. My most urgent suggestions to parents are concerned with the use of words, or rather, not using words."

"I believe that most of us are too quick to name things when we are with small children. By simply naming a thing and letting it go at that when a child asks, "What is that?" we communicate that the name or label is the most important thing, that naming is sufficient. We deprive our children of their sense of wonder and discovery by labeling and categorizing things in the physical world. Instead of merely naming a tree, for example, try also guiding your child through an exploration of the tree both physically and mentally. This exploration may include touching, smelling, seeing from various angles, comparing one tree with another, imagining the inside of the tree and the parts underground, listening to the leaves, viewing the tree at different times of the day or during different seasons, planting its seeds, observing how other creatures — birds, moths, bugs — use the tree, and so on. After discovering that every object is fascinating and complex, a child will begin to understand that the label is only a small part of the whole. Thus taught, a child's sense of wonder will survive, even under our modern avalanche of words."

"There is a saying among art educators that a person just starting out in color will mix ten gallons of mud before learning how to make beautiful color."

"Some say I have a beautiful voice, some say I have not. It is a matter of opinion. All I can say, those who don't like it shouldn't come to hear me."

"I admire Tebaldi's tone; it's beautiful — also some beautiful phrasing. Sometimes, I actually wish I had her voice."

"What Tullio Serafin] said that impressed me was: "When one wants to find a gesture, when you want to find how to act on stage, all you have to do is listen to the music. The composer has already seen to that." If you take the trouble to really listen with your soul and with your ears — and I say soul and ears because the mind must work, but not too much also — you will find every gesture there. And it is all true, you know."

"What a lovely voice, but who cares?"

"Don't talk to me about rules, dear. Wherever I stay I make the goddamn rules."

"Bel canto does not mean beautiful singing alone. It is, rather, the technique demanded by the composers of this style — Donizetti, Rossini, and Bellini. It is the same attitudes and demands of Mozart and Beethoven, for example, the same approach and the same technical difficulties faced by instrumentalists. You see, a musician is a musician. A singer is no different from an instrumentalist except that we have words. You don't excuse things in a singer you would not dream of excusing in a violinist or pianist. There is no excuse for not having a trill, for not doing the acciaccatura, for not having good scales. Look at your scores! There are technical things written there to be performed, and they must be performed whether you like it or not. How will you get out of a trill? How will you get out of scales when they are written there, staring you in the face? It is not enough to have a beautiful voice. What does that mean? When you interpret a role, you have to have a thousand colors to portray happiness, joy, sorrow, fear. How can you do this with only a beautiful voice? Even if you sing harshly sometimes, as I have frequently done, it is a necessity of expression. You have to do it, even if people will not understand. But in the long run they will, because you must persuade them of what you're doing."

"It takes a little more time to get into the role, but not very much more. In making a record you don't have the sense of projection over a distance as in an opera house. We have this microphone and this magnifies all details of a performance, all exaggerations. In the theater, you can get away with a very large, very grand phrase. For the microphone, you have to tone it down. It's the same as making a film, your gestures will be seen in close-up, so they cannot be exaggerated as they would be in a theater."

"Serafin was] an extraordinary coach, sharp as a vecchio lupo [old wolfe]. He opened a world to me, showed me there was a reason for everything, that even fiorature and trills ... have a reason in the composer's mind, that they are the expression of the stato d'animo [state of mind] of the character — that is, the way he feels at the moment, the passing emotions that take hold of him. He would coach us for every little detail, every movement, every word, every breath. One of the things he told me — and this is the basis of bel canto — is never to attack a note from underneath or from above, but always to prepare it in the face. He taught me that pauses are often more important than the music. He explained that there was a rhythm — these are the things you get only from that man! — a measure for the human ear, and that if a note was too long, it was no good after a while. A fermata always must be measured, and if there are two fermate close to one another in the score, you ignore one of them. He taught me the proportions of recitative — how it is elastic, the proportions altering so slightly that only you can understand it. ... But in performance he left you on your own. "When I am in the pit, I am there to serve you, because I have to save my performance." he would say. We would look down and feel we had a friend there. He was helping you all the way. He would mouth all the words. If you were not well, he would speed up the tempo, and if you were in top form, he would slow it down to let you breathe, to give you room. He was breathing with you, living the music with you, loving it with you. It was elastic, growing, living."

"I would not kill my enemies, but I will make them get down on their knees. I will, I can, I must."

"I happen to think that Callas was the greatest singer of the 20th century. I feel that so many people have learned the wrong things from her, rather than the right things. She was a fabulous musician. When you listened to her, you could almost take dictation. All the dots were there. Anything that was wrong was because of the deterioration of the instrument over time. But usually musical things were not wrong. She has pitch problems and wobbles that came in later."

"Callas was such an example of professionalism. One thinks of her as a flighty diva, which is the wrong thing to learn from her, and she wasn’t at all."

"From Callas, I learned to respect the music. It’s part of the attention to detail. Today, everything seems to me a bit homogenized. Puccini sounds like Handel which sounds like Bellini. Callas had this sense of style, whether it was learned or just innate."

"Callas was superhuman. She was on a whole other plane. She really was a Diva — the goddess — and the rest of us are basically her handmaidens."

"That is such a difficult question. There are times when certain people are blessed — and cursed — with an extraordinary gift, in which the gift is almost greater than the human being. Callas was one of these people. It was as if her own wishes, her life, her own happiness were all subservient to this incredible, incredible gift that she was given, this gift that reached out and taught us things about music that we knew very well, but showed us new things, things we never thought about, new possibilities. I think that is why singers admire her so. I think that’s why conductors admire her so. I know it’s why I admire her so. And she paid a tremendously difficult and expensive price for this career."

"I don’t think she always understood what she did or why she did it. She knew she had a tremendous effect on audiences and on people. But it was not something she could always live with gracefully or happily."

"I once said to her “It must be a very enviable thing to be Maria Callas.” And she said, “No, it’s a very terrible thing to be Maria Callas, because it’s a question of trying to understand something you can never really understand.” She couldn’t really explain what she did. It was all done by instinct. It was something embedded deep within her."

"I adored this lady, and I respected her work ethic. She always wanted to improve her understanding of a piece. "Casta Diva", [for instance] — what interested me most was how she gave the runs and the cadenzas words. That always floored me. I always felt I heard her saying something — it was never just singing notes. That alone is an art. It’s an art that you can try to achieve, but you can’t copy, because that’s just imitating without delving into [how she felt] about that particular fioritura. ... how many other artists since Callas have you heard and thought, "She sang gorgeously, but I never cried?""

"Maria Callas remains an icon with an instantly recognizable voice. But she was also the first opera singer to be equipped with the ingredients of international celebrity: charisma, glamour, wealth, she had it all, together with the touches of scandal and tragedy that made her story so compelling. Since her time, every female opera singer has been measured against this powerful role model. ... Callas modernized our metier. Her life was a tireless creative search. She was one of the first to recognize the importance of being an actress as well as a singer, and was uncompromising in her belief that, in order to achieve a complete dramatic performance, all aspects of the operatic genre require equal attention. She was a pioneer in restoring forgotten repertoire and in exploring new ways of musical interpretation. To this day, I find that many of her exemplary recordings are astounding."

"Callas studied the text, the meaning of the words, and as a result, she became a diva. She became the Great Callas. Because she studied the character, she entered the mind of the character, and she brought the character to life onstage. Today, young singers don’t have this mindset. They don’t have the kind of technique that Callas had. ...Price, Milanov and Tebaldi had stupendous voices and great careers. [But] Callas, as a performer, as someone who expressed the real meaning of the words, was the best. The best. There is no doubt about this — not only for her sound, but because she studied so much. Callas is the diva. She is important to young singers, because she was a serious singer onstage, and she left a great legacy. I don’t know, though, if they can listen and learn from what she left on her recordings."

"Callas? She was pure electricity."

"She opened a new door for us, for all the singers in the world, a door that had been closed. Behind it was sleeping not only great music but great idea of interpretation. She has given us the chance, those who follow her, to do things that were hardly possible before her. That I am compared with Callas is something I never dared to dream. It is not right. I am much smaller than Callas."

"I used to listen again and again to recordings by Maria Callas. She was so musical and so theatrical at the same time. That is rare! I admire the way she cares for the words, so that everything comes from the text. She takes everything from the text and the music to elaborate a character and make her really interesting and impressive. She brings her own nature to the part — what she is, her passion, her fragility, doubts, feelings, violence — everything she is. And she never betrays the text or the music. We're very different, thank goodness, and I am happy with my own voice. But I feel very close to her in terms of discipline — trying to be as disciplined as she. She is an example to follow! Maybe in the past, people were more interested in voice and beautiful sounds. Maria Callas changed that. She arrived, brought a new way of doing opera, opened the way for us. We don't have any excuse now for not doing it!"

"Callas, way above the rest. Tebaldi had a fantastic voice, like an angel's. But even when Callas's voice wasn't perfect, she had so much interpretation. Opera is storytelling. Feelings must be conveyed. Acting must be moving. And Callas had it all."

"Maria had in her blood, in her veins, in her subconscious all the tradition of the Greek Tragedy. She was born that way. In fact, she had her best time during 10 years. That was very short. But the "Myth of La Callas" will continue for ever, because she did so much! She was a magnetic force on stage, the others didn't exist anymore. It's a gift of Nature, a gift of God. It' a talent, a great talent."

"Oh, many. A few, even superior. For sheer strength of character, I wouldn't have dared to cross swords with Callas. I would rather have gone six rounds with Jack Dempsey!"

"The Chicago Lucia [1954], which I witnessed, absolutely blew everybody's mind, because she stopped the show in the middle of the mad scene. She bowed, [while] the audience went wild, and kept that pose for fourteen minutes. Callas was our lesson, in those days, for how one performed. She had such complete ... we say in German "souveränität" — being above everything. She had this aura of magic. People were always mystified by what she did....Tebaldi had a much more beautiful voice and didn’t have that hollow, breathy sound, which at times was just plain ugly. [But] Callas was unusual because despite the sound of her voice, the force of her personality just magnetized people. It was so present, it came across the footlights at you, that ferocity of hers. It was just all-encompassing. Callas brought the personality, the drama, the magic, the surreal quality to the bel canto roles that Sutherland never did."

"It seems almost inexplicable that the human race, with its ravenous appetite for entertainment, should have failed over so many decades to produce another Callas and Elvis. Neither Pavarotti nor Madonna come close, nor ever will. The desperate efforts of a universal music industry have yielded nothing more enduring than Cecilia Bartoli, the mini-voiced mezzo who tops the opera charts, and the high-kicking, faintly archaic Kylie Minogue, who belongs more to the smiley era of the Andrews Sisters than to the grim virtual reality of Bill Gates. In fact, when we commemorate the Presley and Callas anniversaries, one month apart, we confirm a catastrophic failure of cultural renewal."

"In all her recordings, one witnesses this incredible technique at work, whether it is Puritani, Sonnambula, Lucia, Norma or Abduction, [or] turning around to sing Gioconda and Kundry. This ability to devour all of vocal music history, and take it into herself and spew out such excellent examples of all these different styles — you just think, “How is a voice able to encompass all of this?” Well, it’s not the voice, it’s the woman behind the voice."

"No coloratura or fioritura was ever done for its own sake — it was always at the service of some expressive challenge....Her runs always gave the impression of being done so effortlessly. I liken it to the greatest ballerinas — they never made you aware of how painful it is to be en pointe. Callas transcended and transformed pain and difficulty into sheer weightlessness and ease and joy. It's absolute perfection in itself, and then on top of that she overlays expression — that's the thing I adored about this singer. She must have spent hours, days, weeks, years on this art, you know? The one I'm floored by is the Entführung that she did. ["Martern aller Arten"] is just beyond belief. I don’t think anyone has sung it better...."

"There was some wonderful demonic thing that worked inside of her to fuse the elements of technique and expression and transcend the [roles she assayed.] ... She's an inspiration to everyone that follows her, but she’s also a kind of cautionary tale for artists, so they understand that you risk a great deal when you’re that hungry."

"Listening to Callas is like reading Shakespeare: you’re always going to be knocked senseless by some incredible insight into humanity. She is a huge bonfire! The thread, the "inner serpent" that she would get in certain music was so complete — for example, in the Lucia recording, the phrase "Alfin, son tua." Lucia, at her absolute happiest moment, would have said to Edgardo, "I am finally yours." For me, the woman Lucia came to life in that moment, and I understood why she was out of her mind, you know? You’ve got it all in that one phrase."

"[Callas was] An outstanding historical figure, ranking with Malibran, Viardot, Toscanini, and Mahler. She is somewhat like Viardot, Chorley's "tones of an engaging tenderness" mingled with those "of a less winning quality." It was a flawed voice. But then Callas sought to capture in her singing not just beauty but a whole humanity, and within her system, the flaws feed the feeling, the sour plangency and the strident defiance becoming aspects of the canto. They were literally defects of her voice; she bent them into advantages of her singing. [Her voice] is what she had. What she made was a musical information of what was happening to her characters, a searching virtuosity. Suffering, delight, humility, hubris, despair, rhapsody — all this was musically appointed, through her use of the voice flying the text upon the notes...."

"Yes, the woman could act. At the very moment she entered, you saw in full Aida, Anna Bolena, Gioconda, felt their eyes on you even before they uttered a sound. ... The gestures — so authentically antique, yet strangely devised entirely on her own — were completely equalized into her stylistics, with one set for the Greeks and Romans, another for post-Renaissance royalty, a third for more contemporary characters. Yet, all this was subsidiary to the heavy Kunst of developing the psychology of the roles under the supervision of the music, of singing the acting...."

"She sang as if she had the most beautiful voice in the world — and sang so beautifully that she might as well have had such a voice. Thus she moved opera back a century to the age of Viardot, the acting singer."

"When I was around thirteen, fourteen years old, in communist Poland, we had no recordings at all. I don’t know how my mother found this old-fashioned recording, with Maria Callas, Tito Gobbi — you know, it was Tosca. I had only this one recording in my house, and I was listening to [it] ten times a day. I knew by heart everything — I could sing Cavaradossi, Tosca, Scarpia — each role. I was very young, and I didn’t know exactly what I wanted to do in my life. And when I for the first time heard Maria Callas, suddenly I got proof — “Yes, I want to be a singer, I want to sing like she sings!”"

"It’s enough to hear her, I’m positive! Because she could say everything only with her voice! I can imagine everything, I can see everything in front of my eye."

"People are funny, because they can’t be happy. If they have somebody like Maria Callas in front of them, they always try to find something wrong, something bad, a few mistakes, you know? And maybe she had three voices, maybe she had three ranges, I don’t know — I am professional singer. Nothing disturbed me, nothing! I bought everything that she offered me. Why? Because all of her voices, her registers, she used how they should be used — just to tell us something! She had a message for us, a fantastic message. She had such a big power, and then she just disappeared."

"Without hesitation, Maria Callas. . . Maria Callas gave me the opera bug. To pursue that area of placing my instrument, which I had already found out from me was not ordinary. I took a plane to Chicago, during the 50’s when she was there for the first time doing Madama Butterfly. And the excitement! Histrionically, she remade Opera, in the sense that she merged the sound with the action. Now, I’m not that kind of electric personality. but she taught me to fit my own movements, my own acceptance of claiming center-stage from her own doing that. It was one of the most exciting experiences I have ever known."

"I think the secret of Maria Callas was her willpower. Maria Callas was born with all sorts of disadvantages. Her voice was not of the most beautiful quality, and still, she made this instrument the most expressive, the most telling, the most true to the music that she interpreted. Maria was not born a beautiful woman. Maria was fat, obese, ungraceful — when you realize the type of body she was born with, like that of a pachyderm — but she turned herself into possibly the most beautiful lady on the stage."

"Maria had a way of even transforming her body for the exigencies of a role, which is a great triumph. In La traviata, everything would slope down; everything indicated sickness, fatigue, softness. Her arms would move as if they had no bones, like the great ballerinas. In Medea, everything was angular. She’d never make a soft gesture; even the walk she used was like a tiger’s walk."

"There's no one in her league. That's it. Period."

"Emmylou and I are both Maria Callas fans. We listen to that all the time. She's the greatest chick singer ever. I learn more about bluegrass singing, more about singing Mexican songs, more about singing rock-and-­roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays."

"If the public could understand, as we do, how deeply and utterly musical Callas is, they would be stunned."

"Maria, you are a monster; you are not an artist nor a woman nor a human being, but a monster."

"That woman is a miracle!"

"The greatest technician I ever met ! She could do everything."

"Listen to me, everyone speak about Callas. But I know Callas. I know Callas before she was Callas. She was fat and she had this vociaccia -- you know what a vociaccia is? You go kill a cat and record its scream. She had this bad skin. And she had this rich husband. We laugh at her, you know that? And then, I sat in on a rehearsal with Maestro Serafin. You know, it was Parsifal and I was supposed to see if I do one of the flowers. I didn't. And she sing that music. In Italian of course. And he tell her this and he tell her that and little by little this voice had all the nature in it -- the forest and the magic castle and hatred that is love. And little by little she not fat with bad skin and rich-husband-asleep-in-the-corner; she witch who burn you by standing there. Maestro Serafin he say to me afterwards, you know now something about Parsifal. I say, 'No, Maestro, I know much more. I know how to study. And I know that we are more than voices. We are spirit, we are god when we sing, if we mean it.' Oh yes, they will go on about Tebaldi this and Freni that. Beautiful, beautiful voices, amazing. They work hard. They sincere. They suffer. They more talented than Maria, sure. But she was the genius. Genius come from genio -- spirit. And that make her more than all of us. So I learn from that. Don't let them take from you because you are something they don't expect. Work and fight and work and give, and maybe once in a while you are good."

"In October of 1948, just after I moved to Florence to head the Teatro Comunale, Serafin called me from Rome. "Come at once," he begged. "You must hear this girl. She is discouraged and has bought a ticket to return to America. Help me convince her to stay." So, at his home, I met Maria Callas. She was tall and heavy, but had an interesting face, real presence, expression, intelligence. With Serafin at the piano, she did her usual repertory for me — Gioconda, Turandot, Aida, Tristan. Parts of the voice were beautiful, other empty, and she used strange portamenti. During a pause, she said she had studied with Elvira de Hidalgo, which struck me as curious, for de Hidalgo had been a coloratura. "I know coloratura pieces too," Callas explained, "but I'm a dramatic soprano." "Well," I asked, "can we hear something of a different nature?" So she sang the aria from I Puritani, with the cabaletta. I was overwhelmed, and tears streamed down Serafin's cheeks. This was the kind of singer one read about in books from the nineteenth century — a real dramatic coloratura."

"I've loved opera since I was a child. I study her; I mean of course I can't sing like that, but she has taught me a lot about discovering how to deliver the inner narrative of a song. Because I listen to her songs--I don't speak Italian or I don't speak whatever language she's singing--but I understand what she's conveying through her emotional interpretation."

"Callas’ magnificence lay in both her natural gift and her incredible commitment to mastering the correct style with the great conductors that she worked with. All the things that you think are happening spontaneously are planned and organized. They’re part of the style. Her stylistic mastery, as well as her personality and voice, still make people talk today. It’s that magic thing that happens."

"Whatever genius is, I think there’s a strong element of genius in [Callas]."

"I didn’t dare study her phrasing, but of all the singers I listen to, it’s Callas I love most. I always have. And I was lucky enough to be at the Met[ropolitan Opera] when she did the master classes at Juilliard [School]. I saw them, and saw how she worked with people and what her knowledge was. There was no mystery to it. It was very tangible. The grounding was sort of like a ballerina’s footing in barre exercises. To get to the point where you get your feet to leap into the air, you have to begin very close to the floor. That’s what I think a lot of her musicianship represents to me: It’s her extraordinary devotion."

"[Hearing Callas in Norma in 1952] was a shock, a wonderful shock. You just got shivers up and down the spine. It was a bigger sound in those earlier performances, before she lost weight. I think she tried very hard to recreate the sort of “fatness” of the sound which she had when she was as fat as she was. But when she lost the weight, she couldn’t seem to sustain the great sound that she had made, and the body seemed to be too frail to support that sound that she was making. Oh, but it was oh so exciting. It was thrilling. I don’t think that anyone who heard Callas after 1955 really heard the Callas voice."

"[Backstage] she was wonderful; she was marvelous. She was easy-going and a worker. Oh my goodness! She rehearsed and rehearsed; always full-voice, never pushing the sound, but she would work till she got what was wanted. And of course had very poor eyesight. She used to pace out how many steps she would go, and there were steps and different levels on stage, as they were, in Norma. And she knew how many paces she could take before she had to take a step, because she was blind as a bat. She had terrible eyesight and, of course, couldn’t wear contact lenses at the stage. She did later."

"[Working with Callas was] like nothing else. Compared to nothing. I would say singers are reproductive artists, but she was a creative artist. She was in the role so much, it was fabulous, fabulous. She was very modest, very easy. But I think she saw red when she saw a journalist. But I could discuss a breath or anything with her. She didn't really have an ego when it came to the work. Her curse was that she was so musical, so intelligent, that she could take on roles that her voice couldn't handle. But what she did was always wonderful. There's a good example of what I mean. Callas — artist. Tebaldi — wonderful singer."

"This rivality was really building from the people of the newspapers and the fans. But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end. But I don’t know why they put this kind of rivality, because the voice was very different. She was really something unusual. And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria. The most fantastic thing was the possibility for her to sing the soprano coloratura with this big voice! This was something really special. Fantastic absolutely!"

"To work with her, you had to really understand how she saw your role, not how you saw it. She had a very clear-cut understanding of her role, and you had to fit into that interpretation. She was so great, [yet] she could not distance herself from a role. It was actually quite terrifying — she would at times actually cry while singing! You must only portray the emotions, not become personally involved. But Maria always became the role. She was such a servant of the text and the composer, she would tear her voice to ribbons to accomplish it!"

"I did it to serve Callas, for one must serve a Callas."

"The last great artist. When you think this woman was nearly blind, and often sang standing a good 150 feet from the podium. But her sensitivity! Even if she could not see, she sensed the music and always came in exactly with my downbeat. When we rehearsed, she was so precise, already note-perfect. ... For over thirty years, I was Arturo Toscanini's assistant, and from the very first rehearsal, he demanded every nuance from the orchestra, just as if it were a full performance. The piano, the forte, the staccato, the legato — all from the start. And Callas did this too. ... She was not just a singer, but a complete artist. It's foolish to discuss her as a voice. She must be viewed totally — as a complex of music, drama, movement. There is no one like her today. She was an esthetic phenomenon."

"About Maria Callas, I am honestly practically devoid of words. And that must be the case when one comes up against a phenomenon that one simply can't explain, but whom one appreciates. Indeed, as far as I'm concerned, I've been in love with her for years. She is, I think without any doubt at all, (and I don't mind what letters come to me tomorrow) the greatest theatrical, musical artist of our time.... She has an enormous feeling for music. She has an enormous feeling for words. She has an enormous feeling for the dramatic situation. She can convey all those things to an audience in a way that practically no other artist alive today can do."

"The magic of a Callas is a quality few artists have, something special, something different. There are many very good artists, but very few who have that sixth sense, the additional, the plus quality. It is something which lifts them from the ground: they become like semi-gods. She had it. Nureyev has it, [Laurence] Olivier. But Olivier is also a case of an extremely rich knowledge of everything. He is completely coherent in his life, onstage. Whatever he does is part of a complete personality. Maria is a common girl behind the wings, but when she goes onstage, or even when she talks about her work or begins to hum a tune, she immediately assumes this additional quality. For me, Maria is always a miracle. you cannot understand or explain her. You can explain everything Olivier does because it is all part of a professional genius. But Maria can switch from nothing to everything, from earth to heaven. What is it this woman has? I don't know, but when that miracle happens, she is a new soul, a new entity."

"I'm like Robin Hood. I rob the rich to make these projects come alive... not really rob. It's done with a smile."

"The Philippines is in a strategic position. It is both East and West, right and left, rich and poor. We are neither here nor there."

"The Philippines is where Asia wears a smile. Beautiful products can only be made by happy people."

"If you know how rich you are, you are not rich. But me, I am not aware of the extent of my wealth. That's how rich we are."

"Diligence, hard work, foresight, entrepreneurship and God's blessing."

"When they see me holding fish, they can see that I am comfortable with kings as well as with paupers."

"President Marcos was investing in precious metals long before he entered politics."

"Funny, I never shopped. Even my jewelry — not a piece of my jewelry I bought for me."

"I was born ostentatious. They will list my name in the dictionary someday. They will use 'Imeldific' to mean ostentatious extravagance."

"Ferdinand had foresight and unbelievable luck. His success actually bordered on fiction."

"I have never been a material girl. My father always told me never to love anything that cannot love you back."

"I will not say sorry and be pardoned for doing a godly act."

"My grandchildren are growing up and they could not understand why the Marcoses are still being crucified although we keep on telling them that we did not steal from the Filipino people."

"I would have to ask the public to choose between a culture of hate or a culture of love. I am sure our poor will pick the latter. With the Marcos assets, we could regain this value of sharing love with one another."

"They went into my closets looking for skeletons, but thank God, all they found were shoes, beautiful shoes."

"Filipinos don't wallow in what is miserable and ugly. They recycle the bad into things of beauty."

"It so coincided that Marcos had money. After the Bretton Woods agreement he started buying gold from Fort Knox. Three thousand tons, then 4,000 tons. I have documents for these: 7,000 tons. Marcos was so smart. He had it all. It's funny; America didn't understand him."

"When you reach a certain level of leadership, people cannot be neutral with you. They either love, love, love you, or hate, hate, hate you."

"We never had such a violation of human rights. In fact, we have had no human rights case here in the Philippines, even to this day."

"It is not expensive to be beautiful. It takes only a little effort to be presentable and beautiful. But it takes some effort. And unfortunately people think of beauty as luxury, beauty as frivolity, ... or extravagance. Beauty is a discipline, beauty is art, is harmony, in the ideological sense and in the theological sense, beauty is God and love made real. And the ultimate reach in this world is beauty."

"I seem to be able to only see the positive things in life and the beautiful things in life and when I see, for instance, garbage or ugliness, then I turn my back or I seem to be able to skip it."

"I am my little people's star and slave. When I go out into the barrios, I get dressed because I know my little people want to see a star. Other presidents' wives have gone to the barrios wearing housedresses and slippers. That's not what people want to see. People want someone they can love, someone to set an example."

"’Who is Imelda?’ I come from a third world country, third class province. And I was orphaned—and look, Imelda made it. If Imelda made it everyone can make it. At this age and stage I feel so good I’m still ready to fly.”"

"Thank God I never lost that childlike innocence and the purity of vision and naivete. …That childlike innocence was most useful, because if I was a bit wiser, I wouldn't have been able to do anything, perhaps. So I'm glad I was not smart."

"I've always maintained that the only things to uphold are the good, the true and the beautiful. We have to reject what's ugly."

"The best compliment I ever got in my life came from Chairman Mao of China. When I went there, at a time when nobody wanted to touch China with a 10-foot pole, Mao told me that I'm beautiful because I'm a natural, and he said natural is perfection. So, no character assassination can diminish me and my perfection."

"I'm the Imelda Marcos of sunglasses."

"A cunning child with a remarkable gift for both self-delusion and self-preservation. Marcos, who turned 75 last week, always maintained her childlike sense of entitlement, despite the harsh realities of life."

"She spent money. No question about that...She is a world-class spender. She is a world-class shopper."

"People get a bad impression of it by continually trying to treat it as if it was a bank clerk, who ought to be on time on Tuesday next, instead of philosophically seeing it as a painter, who may do anything so long as you don't try to predict what."

"Any committee that is the slightest use is composed of people who are too busy to want to sit on it for a second longer than they have to."

"The best careers advice given to the young ... is "Find out what you like doing best and get someone to pay you for doing it.""

"A food is not necessarily essential just because your child hates it."

"The main purpose of children's parties is to remind you that there are children more awful than your own."

"I wouldn't say when you've seen one Western you've seen the lot; but when you've seen the lot you get the feeling you've seen one."

"There are some circles in America where it seems to be more socially acceptable to carry a hand-gun than a packet of cigarettes."

"Hats divide generally into three classes: offensive hats, defensive hats, and shrapnel."

"No nice men are good at getting taxis."

"We don't pay taxes. Only the little people pay taxes."

"Leona Helmsley is a truly evil human being. She treated employees worse than any human being I've ever witnessed and I've dealt with some of the toughest human beings alive."

"Helmsley would lick the dog, tongue to tongue. It was unhealthy, unnatural."

"I do feel one learns more from one's failures than from one's successes,"

"Without my work I would be a neurotic mess."

"The Vicomtesse alias Moira Lister - even though she is on the wrong side of 60, is looking like an exquisite, flawless Gainsborough cameo."

"[A] cigar-smoking Barbara Cartland,"

"You are the stars and the world is watching you. By your presence you send a message to every village, every city, every nation. A message of hope. A message of victory. The right to play on any playing field? You have earned it. The right to study in any school? You have earned it. The right to hold a job? You have earned it. The right to anyone's neighbor? You have earned it."

"In ancient Rome, the gladiators went into the arena with these words on their lips: let me win, but if I cannot win, let me be brave in the attempt. Today, all of you young athletes are in the arena. Many of you will win. But even more important, I know you will be brave and bring credit to your parents and to your country. Let us begin the Olympics, thank you."

"No Cricklewood girl would ever admit to being from there."

"in Divorce American style, there was the discomfort of seeing one of the beautiful wasted actresses of the screen, Jean Simmons. Her suggestions of sensibility - what she embodies - were too fine for the world of that movie. Her presence made the movie she was trapped in seem uglier."

"The whole thing -[actor Stewart Granger's pursuit of Jean Simmons]- began as a joke but very quickly developed into a romance. [-] One day my agent called and told me the master, Rank, would like me to have dinner with him in his private suite at the Dorchester Hotel. [-] "Now, it's about Jean Simmons," he started in his flat Yorkshire accent. "I like to believe we're all a big family and I regard Jean as my daughter. (Well, you're a pretty damn mean father I thought, knowing the ridiculous salary he was paying to Britain's top female star.) "You're a married man with two children and what I hear is going on is wrong." "It's a disgrace" added John Davis who had been eyeing me balefully [-] I told them I was no longer married and that I had been divorced for six months [and] beat a hasty retreat.""

"Adam and Evelyne was a charming light comedy in which Jean started off as a teenager who goes away to finishing school in Switzerland and returns a sophisticated young woman [-] It was quite extraordinary playing love scenes with someone you loved and who was in love with you. [-] She enjoyed it thoroughly and when, in the film, I was telling her how much I loved her but that I was afraid I was too old for her, she'd mutter under her breath, "You're telling me, you dirty old man." Later, when she had to tell me she loved me, she'd whisper "and I mean it, too.""

"Are you sitting comfortably? Then I'll begin."

"I recall playing practical jokes with John Wayne. I once got a whole bunch of keys and had little tags made that said, "If lost, please return to John Wayne, RKO Studios. Reward." And I just dropped them all over town. [He got a lot of] phone calls, people showing up at the studio. He never learned who did it."

"I am very much a Republican. I think that Richard Nixon is a great man and that he is very dedicated to what he does. I had the pleasure of meeting him when I attended the Republican National Convention in Miami. You can really tell that he is willing to go out of his way to help the American people. I am proud to support him as president and I wish him all the success in the world and may I also say that it was an honor to endorse him."

"I enjoyed working at RKO more than at MGM. At RKO the parts were better!"

"A lot of sources said I was born in 1917. That is incorrect. I was born in 1920. 1917 was the year the studios listed as my birth year to make me appear younger."

"MGM never really gave me a break. They loaned me out for leading roles, but cast me in programme pictures."

"Hitchcock was a character. In one particularly scary scene I had to sneak down a dark corridor. When I got to the end there was Mr. Hitchcock, sticking out his tongue and flapping his hands in the back of his ears. I didn't dare laugh, because the cameras were turning. But he certainly eliminated any tension I felt."

"Cary [Grant] would arrive on the set and everybody's morale immediately lifted. The crew were crazy about him and so was I. But, curiously, I never felt the male-female chemistry that you sometimes experience on a set. I could have been talking to my best girl-friend."

"Gary [Cooper] turned out to be the surprise of my young life. He was so convincing with his stuttering, stammering awkward little boy manners. When the action called for Dr. Wassell to kiss me, I got all set for a bashful boy kiss. Well, it was like holding a hand grenade and not being able to get rid of it! I was left breathless."

"(On her work in Keep Your Powder Dry) I didn't want to do it, but they said if I did it they would give me Undercurrent with Robert Taylor. Then they gave Undercurrent to Katharine Hepburn, so I left MGM."

"(On her role in The Locket) My character was the greatest challenge I ever had – a destructive young woman who's a kleptomaniac. The form of the film – flashbacks within flashbacks within flashbacks – was criticised by some reviewers of the time as too confusing. Today, though, its style is highly regarded by film historians. . . Many movie fans seem to remember me best from the Dr. Kildare series but, first and foremost, I remember The Locket."

"Ronald Reagan makes me proud to be an American. His intelligence, capability, and Christian brotherhood are so inspiring and his way of leadership is just superb. I consider myself lucky to have been his leading lady in The Bad Man and a short subject reel and as a nation all together we are beyond fortunate to have the leadership of such fine people as the Reagan's."

"We'd seen all the rushes, which we thought very funny, but the premiere audience reaction was cold and so were the reviews. However, the moment it was released it made audiences everywhere laugh like anything, and it showed that our original reaction had been right. What a relief!"

"[On Norman Wisdom] One knew that he would lay his hands on anybody [...] You had to make sure you nipped about a bit. There's a way of doing it without reprimanding. He obviously had a terrific inferiority complex."

"I can remember what I ate. Coconut squares dipped in chocolate, wrapped in gold paper."

"I had to hide every morning, until Daddy had gone out to work. And then stay out late to try to avoid him in the evening. Because of these terrible rows. Mummy would come and try to get me to go back home in the middle of the day. After about a year the school said look, this cannot carry on. I had to leave."

"I think my parents had visions of me being found in the Thames with six illicit foetuses in my womb and needle marks up my arm."

"I remember once saying that I'd like to go to university. My father told me: "I would rather see you dead at my feet than have you go to a university." I'm laughing about it now, but at the time I was terribly upset. I didn't even understand what going to university meant."

"It's really splendid, my dear. Are you going to bring it into town?"

"You get set on a path and, if you succeed, you get better parts, but of the same kind. If you don't take a lot of trouble, you get stuck like that."

"Home life was horrid. Daddy used to knock me about with his fists, and my mother would egg him on."

"[On Kenneth Williams] He was quite happy to steal the good lines I made up and use them before I could say them [...] He would do anything as long as he came out best. It was outrageous."

"I believe that all religions are true and different religions are only the different ways to the same God. For me God is the power of life and justice and when I am talking about God I am just talking about happiness to live and to enjoy life on earth. I feel that humanity should be one, that mankind should not be divided. The people should together work for much good. Well, this is my belief in God. Maybe I am not clear."

"You are one of those obsessed demoniacal creatures who ought to be avoided at all costs; they bring misfortune into the lives of others; they ruin the lives of others. The real good people are humble and silent (like your Kitty is). But beware, God sees all vanity and pride and you cannot fool him."

"People say, 'Stalin's daughter, Stalin's daughter,' meaning I'm supposed to walk around with a rifle and shoot the Americans," she once said. Or they say, 'No, she came here. She is an American citizen.' That means I'm with a bomb against the others. No, I'm neither one. I'm somewhere in between."

"When my mother left us, he [Stalin] was left completely alone. And I think what came next, in the late 30s and after the war in the 40s - I think that was a result of his complete loneliness on top of the world. Nobody would argue with him anymore."

"The only time you'll see me as a Democrat is when I play Sophia. In the real world I'm a Republican from head to toe."

"Age does not bring you wisdom, age brings you wrinkles."

"I think they look upon me as an old child, because I'm so little."

"Being tiny has been difficult for me in a business that regarded physicality as the most important part of your life."

"People assume that I'm wiser than I am because I'm somewhat successful. Age does not bring you wisdom, age brings you wrinkles. If you're dumb when you're young, you're going to be dumb when you're old."

"Too many of you, my friends, are dying. Now it's time for me to do my part and help you."

"My dream is to do whatever I want without any interference from the record company."

"I've always been a Democrat, it runs in my family."

"Judy Garland was the singer I most wanted to sound like then, not to copy, but to get some of her soul and purity. A wonderful young voice."

"There are notes between notes, you know."

"There's a category for me. I like to be referred to as a good singer of good songs in good taste."

"They always ask me the same questions. Where was I born? When did I start singing? Who have I worked with? I don't understand why they can't just talk to me without all that question bit."

"I dig Doris Day."

"When I sing, trouble can sit right on my shoulder and I don't even notice."

"To me, Sarah Vaughan is the height of artistic genius in twentieth-century culture."

"My mother would write letters when I was away at camp and say, 'There's an Ann-shaped space around the house. Nobody fills an Ann-shaped space except an Ann.' I'm convinced we all have a God-shaped space in us, and until we fill that space with God, we'll never know what it is to be whole."

"All of us wish we had an Alice. I wish I had an Alice."

"It was the eyes that did it. [timid giggle] I liked the way he painted eyes and he liked mine."

"M, you see, is four, and D is four too, and H is eight, and four and four and eight are sixteen, which is made up of one and six, which make seven—my number."

"He can't paint eyes. He couldn't learn to paint at all."

"I had just announced for the first time publicly on a radio show in San Francisco that I had done all the Keane paintings and not my ex-husband. And this, um, Bill Flang of the San Francisco Examiner thought that Walter and I should appear in Union Square and have a paint-off to decide who had done the paintings, since I was—said that I had done them. So, he arranged it, and LIFE magazine as there and all the different newspapers and t.v. stations and they, uh—some of them in the audience played "High Noon"—[laughs] And, of course, Walter didn't show up."

"I'd have to lock the door of the paint room. He wouldn't allow anyone in. I was like a prisoner."

"Gradually it dawned on me that I was painting my own inner emotions. Those children were asking: "Why are we here? What is life all about? Why is there sadness and injustice?" All those deep questions. Those children were sad because they didn't have the answers. They were searching."

"A lot of art today doesn't convey much hope, and I hope mine does. I try to paint what I think the future holds and my innermost feelings about God's promise for the future."

"The older I get, the brighter colours I live. But in the past, they were dark, dingy, sad colours."

"He'd threatened me so many times. I thought he was so crazy he could hire a hit man to come get me anytime."

"Walter was extremely charming. He could charm anybody, especially women."

"Children do have big eyes. When I'm doing a portrait, the eyes are the most expressive part of the face. And they just got bigger and bigger and bigger."

"I lost all respect for him and myself, and lived in a nightmare."

"I still paint sad children, because there's sadness in the world, but they have hope, and I have hope."

"I finally got to the point where I decided I don't care if it's good art or bad art, it's what I do. I enjoy doing it, and people like it."

"His art is in heroic bad taste. It's incredibly vulgar, it's weird, but it's still gorgeous. Bad-taste entertainment is the best entertainment. What I really love about Keane is that he is so commercial."

"And Margaret, uh, has done a lot of experimenting in her work. I think, probably, no artist has experimented the way Margaret has."

"Margaret is probably the greatest woman painter alive."

"I think what Keane has done is just terrific. It has to be good. If it were bad, so many people wouldn't like it."

"But what I like most about Keane, myself, is that he's mass-produced, like a factory."

"I get the biggest thrill once in awhile when someone does notice me. I just beam from ear to ear. I went to see my picture, The Creature Walks Among Us it's a science- fiction thriller-and took my children, Cathy and Bobby, along. After the show I stood in front of a very large picture of myself in the lobby -and, you know, not one person knew who I was or said a word."

"You know, I'm still in awe of movie stars-to me they're just not human. Guess it's because I'm from a small town. I wonder if I'll ever get over it?"

"It was during the war, and they thought Kraft was too Teutonic, and they said I would be compared to Kraft cheese if I were bad."

"They consider me a friend, it shows in their faces, and I’m a sucker for that."

"I’d done commercials before, you had to smile and be phony, and that’s not my style. The spot was created to be warm and homey, to lend itself to realism. That’s important to me."

"I used to buy whatever was on sale, now it is always Folger’s. Think what would happen at the checkout counter if I bought something else."

"You can work out in a pool and sweat, but you don't smell. In the water you are weightless. You are ageless. It feels exhilarating to get wet. And you know the water is a very sexy medium. Why do you think people always get in a hot tub?"

"Just make the point we come from the water. It's the most natural medium in the world. It's the only sport you can do from your first bath to your last without hurting yourself."

"I'll bet if I compare notes with Junie Allyson and Debbie Reynolds and anyone else who's had more than one marriage, the fact is that you fall in love and it's so wonderful to think about something other than yourself and whether the script's right for you and who's going to be your leading man, that you don't really ask yourself questions about the fellow. He's just wonderful looking and he dances well and you have a wonderful time and it's fun to go out, and all of a sudden you're in a lifelong marriage."

"I was a model—someone saw my picture—and I landed a stock contract at Universal. Because of my experience, I received a higher salary than the other girls starting out—and during my first week in Hollywood, I got to meet and have dinner with Greta Garbo!"

"I never did a western while at Universal. I did a variety of roles, including ‘The Climax’ with Boris Karloff. There is a huge painting of me in the film. When it was over, Ernest Pagano, one of the producers, put it up in his office. It took up most of the wall! I wasn’t happy because people thought we were having an affair—which I never have and never would do."

"Off screen, I was friends with people I was nasty to in pictures. Judy Canova and I were friends. There’s a terrific line in ‘WAC From Walla Walla’ where she’s trying to pick out a shade of lipstick. I walk by and say ‘window shade.’ [Laughs] Judy played the star bit to the hilt! She had an entourage that followed her around. One woman held an umbrella over Judy’s head to keep the sun off her."

"In most of my westerns, in fact most of the movies I did at Columbia, I was the meanie, the bitch. Like ‘Colorado Sundown’ (at Republic) with Rex Allen and even the musical, ‘Arkansas Swing’ with the Hoosier Hot Shots, a terrific quartet who were also in ‘Song of Idaho’."

"It was my idea to ‘frost’ the streak in the front. I was searching for a different look. Either be blonde or brunette. But don’t be brunette in the back and blonde in the front."

"Universal was like a family. When I was having a terrible time during my pregnancy, they came to my home and built sets right in my bedroom so I could finish the few scenes I had left in ‘That’s the Spirit’. But Columbia—that was work! I did a lot of crime pictures and another horror called ‘The Creeper’. When it was time for those cats to be all over my dead body, I yelled for a stand in. I couldn’t stand having dozens of cats walking all over me. It gave me the shivers!"

"Producer Gail Patrick used me so much as a villain I finally told her, ‘They’ll know it’s me the moment I show up!’”"

"Lois and I worked together in ‘Ladies Courageous’ ten years earlier. We were roommates on our location shooting. I had a blind date and when Lois and I were going up the elevator with some servicemen, she pointed to a very handsome guy and said, ‘I’ll bet that’s him.’ And it was! We’ve been married over 50 years now! I used to see Lois every week at church but lost touch after we moved south."

"I didn’t like what I was seeing, so I decided that was it. I never thought I was a good actress in pictures—but later I became an actress on TV. I kept every W2 for every show or film I did. I had them in a huge box which I took to SAG, dropped on their desk and asked for my pension!"

"A scar on the hand the hand might be quite continental, But demons are a ghoul's best friend."

"Well, apparently, I was instantly a sensation. Even Life Magazine came and photographed me — five pages in Life ... fan clubs all over the world ... almost immediately, I was blacklisted and never worked again — except, once, for Liberace."

"One of the main functions of an analogy or model is to suggest extensions of the theory by considering extensions of the analogy, since more is known about the analogy than is known about the subject matter of the theory itself... A collection of observable concepts in a purely formal hypothesis suggesting no analogy with anything would consequently not suggest either any directions for its own development."

"A theory in its scientific context is not a static museum piece, but is always being extended and modified to account for new phenomena."

"These three assumptions between them constitute a picture of science and the world somewhat as follows : there is an external world which can in principle be exhaustively described in scientific language. The scientist, as both observer and language-user, can capture the external facts of the world in prepositions that are true if they correspond to the facts and false if they do not. Science is ideally a linguistic system in which true propositions are in one-to-one relation to facts, including facts that are not directly observed because they involve hidden entities or properties, or past events or far distant events. These hidden events are described in theories, and theories can be inferred from observation, that is the hidden explanatory mechanism of the world can be discovered from what is open to observation. Man as scientist is regarded as standing apart from the world and able to experiment and theorize about it objectively and dispassionately."

"It could plausibly be argued that far from Christian theology having hampered the study of nature for fifteen hundred years , it was Greek corruptions of biblical Christianity which had hampered it , and the attitude to nature."

"This of course has always been the method of empirical science, which has been suspicious of deductive argumentation unchecked by reference to experiment; but in a more general sense, and outside the practice of science itself, scientists have sometimes been the greatest offenders in adhering to dogmatic ideas against all the evidence, especially when they have tended to limit 'experience' to laboratory experiment."

"It was difficult to be an actress and have a home and children. My family always came first, and that is something I don’t regret."

"I don’t think about the past except now, when we’re talking about it, I never felt I was really there anyway. I always pictured myself as a fly who was up in the corner looking down at myself. I never feel I was there. I’m not very sentimental when it comes to the past, I don’t live there and I feel for people who do because it’s never going to be the same as you remember it."

"I would not have gone into acting. I would have done something else with my life. Although I had an incredible amount of fun, and it opened up doors for me that were unattainable in other ways, I think I would have been better off developing my brains. On the other hand, I might not have gotten into what I'm doing now without that background. All the experience I had in television, radio, theater, stage and films gave me confidence in front of crowds. Because of that, I can talk to an audience of a thousand people without a moment's nervousness, and talk without a script for hours."

"I never never thought it would be like this. … Chemically I'm not put together for anything like this. I'm not sexy. I honestly thought if I did steady, sensible work that maybe when I was 30 or 35 I would get approval as a good actress."

"I think it's lovely to have one part for which you're known. Some actors work all their lives and never achieve this. But acting is what I do; it's not what I am. And I have always had a varied acting career and a very full life beyond my acting endeavors."

"The dogs were always totally concentrated on their trainers. … They were not fed before filming, and the trainers would stand on either side of the set and hold up a piece of meat to make Lassie look to the right or left."

"I did Lassie for six years and I never had anybody come up to me and say, "It made me want to be a farmer.""

"When people come up to me and say, "Well, sure wish we had wonderful American shows like that the way we used to in the '50s," I say: "Let me tell you who wrote those scripts." … Yes, they were good Americans, and they were in jail."

"I must quote Dan Rather … "I can control my reputation, but not my image because my image is how you see me" … I love rock 'n' roll and going to concerts. I have driven army tanks and flown in hot air balloons and I go plane gliding-the ones with no motors. I do lots of things that don't go hand-in-hand with my image."

"I was over the moon – pun intended. … I have been told that my contribution inspired many astronauts to pursue a career in space science and exploration … it is lovely to know that I touched so many people by doing things that interested me!"

"I loved my craft and my cast members. … I never forgot that it is all make-believe."

"I have been a music fan forever … The Beatles, Stones, Chicago, David Bowie, Huey Lewis and the News, Tina Turner. … We threw a Halloween party at my home in the late '60s, and I hired a band called Hour Glass … They were fantastic. Truly talented guitars, keyboards and vocals … then they changed their name to the Allman Brothers Band."

"June Lockhart has burst on Broadway with the suddenness of an unpredicted comet."

"Goodbye to the brilliant June Lockhart … A one of a kind, talented, nurturing, adventurous, and non compromising Lady. She did it her way. … June will always be one of my very favorite moms … 100 years here. Wow! R.I.P. 👍🏼✌️❤️🙏🏻"

"I was brought up rather as an English child, so I knew what was expected, and I pretty much always did it. You didn't speak unless spoken to, but it didn't bother me, or have any repercussions. I didn't know anything else."

"Even at 95, I remember everything. Closure is never complete. I didn’t ask for Hollywood, it discovered me."

"It is now widely agreed that the economy of western Europe contracted in the later Middle Ages, but the causes of this depression and its time-limits are still disputed. Professor Postan argues that the depression was intimately connected with a decline in population beginning early in the fourteenth century and brought about by the operation of Malthusian checks and soil exhaustion."

"Much work that is absolutely essential for the continuance and progress of an ordered society has a severely limited attraction for those who perform it. How, nevertheless, men and women were persuaded to work regularly or at all in the Middle Ages has provided one of the central themes in the study of the period, for this is what we study in the institutions of slavery, serfdom and villeinage—all three were ways and means of persuading reluctant workers to work."

"Between the early fifteenth century and the late, the expectation of life of a monk at age 20 fell by eight years, and at age 25 by more than six."

"In his Rule, St. Benedict entrusted all the material concerns of the monastery to a single official. The cellarer, as he was called, was to follow the abbot's instructions in all things, but with this proviso it was to give the monks their due allowance of food at the appointed time, take care of the sick, the children who were then part of the monastic community, and the poor, and look after the monster's utensils and property as though these were the sacred vessels of the altar."

"We ask for bread and you give us stones."

"There is a big part for me, as a woman, to play."

"I travel to Britain and Switzerland as part of my charity work for the Red Cross, but I have no desire to go anywhere else... My home is here... When I came to this country I became a Motswana."

"The Press treated their marriage as front-page news. Here, flouting all the dangers he knew to be implicit in [inter-racial marriage], was the scion of the ancient and illustrious House of Khama...And here, seeking to be an African queen, was an English working girl who had been reared to expect nothing more exotic than a semi-detached house in one of London’s great dormitories and a husband who every morning would don his bowler hat, seize his umbrella and catch a red double-decker bus to the city."

"And they asked if I would be willing to work on that, but it was much too big a job for me to do by myself. And the other women I had worked with had young children, including Elaine, Barbara Wade, Anne Kirby (ph). I mean, there were a number of them and I said we can work on this"

"“I think if there have been fewer women than men in computing, it’s because they’ve been discouraged back at the education level from majoring in math, or engineering, or computer science.”"

"“Go after it! Don’t be afraid to major in something in college that will lead you to this.”"

"It really amazed me that these men were programmers because I thought it was women’s work!"

"No one was killed among those I took in. I fearlessly confronted Interahamwe whenever they would want to enter my enclosure to kill. I warned them that if they entered they would face the anger and incur the wrath of Nyabingi (a powerful spirit in folklore)."

"To instill fear among the attackers, I would anoint my hands with herbs that cause body irritation and touch them. Because they didn’t know the existence of such herbs, whenever I touched them, they got upset and I used to tell them that it was Nyabingi doing it. And to supplement it, I would go back in the house, shake whatever I could find, including metals and bags and tell the people I was hiding to scream. Then I told the killers that the voices were of my spirits and that they were angrier against them. The killers would flee in fright."

"I only believed in one God and the thing of magical power was just an invention and cover I was using to save lives. I am not a witch doctor."

"I put them here in the compound and covered them with dry leaves of beans and baskets. I hid so many people that I don’t know some of their names. I hid little babies I found on the backs of their dead mothers, and I brought them here. ... I hid those people seriously. I’d prepare some magic, and when the killers came, I’d tell them I would kill them. I told them no Tutsis had come to my house—that no one comes in my house—while all the time they were all inside."

"They [the Interahamwe] killed my firstborn, my son Hanganimana; and my other daughter, Ugiriwabo, was poisoned and died. People would mock me, saying, ‘You hid people, but your own children were killed,’ and I replied to them, saying, ‘Our days to pass away are not the same. God is the only one who understands why these things happen.’"

"Love is the most important thing. Find someone to love and the future will always be bright."

"During the genocide, I saw the darkness of a man's heart. I remember one Saturday, they came back again, I confronted them as usual, warning them that by killing the refugees in my house, they were digging their own graves."

"If they are to die, I die with them."

"Money could not cost me lives of Rwandans."

"One day, President Paul Kagame visited our village and said if everyone was a witch doctor like me, genocide could not have happened."

"You can not die, you can not give up, we can defeat these evil people."

"She risked her life to save others. And to do that, she only had to improvise: she faced armed gangs with her full body and intellect and she won. Her story is a reminder that humanity prevails - even in the most difficult situations."

"A houseboat is my speed, I’m usually frightened in anything that moves. A rougher than expected trip up the Hudson with friends this summer, scared the hell out of me. But I still haven’t learned how to stop it."

"Family is the best thing I’ve ever had. My family is my life. There’s something primitive in your feeling about family,"

"You have to know the insane odds, but you have to have the energy to buck them. You don't know if you're going to get a job anyway, so why give yourself the extra added handicap of dying if you don't play St. Joan?"

"I want to thank Troy, N.Y. … and everybody I ever met in my entire life."

"I figure you're a successful actress only when you don't have to work."

"Not nearly as exciting as it would be if I were acknowledged as one of the greatest lays in the world."

"There are many roads to good acting, I've been asked repeatedly what the key to acting is, and as far as I'm concerned, the main thing is to keep the audience awake."

"Cast throughout her career in supporting roles, Stapleton was content not playing a lead character, I don't think she ever had unrealistic aspirations about her career."

"I was a bird imitating the birds. And so it was their kind of imaginary world that I was raised in, and it was part delicious and part confusing."

"The 1950s and early '60s were emotionally rough for me. In 1950, when I was 23, I was named a Communist by Red Channels, an anti-Communist pamphlet, and was blacklisted by Hollywood from 1952 until the early 1960s."

"It was like, one day you were an actress who could do anything, and the very next day, you could not work in film or television again. And that was the temper of the times."

"I had 12 years to make up for. I'm a very practical person. I had to support myself, I had to support my daughter, and I had to work. And if the way that I could work was to have the years taken off my age at that time, I was desperate to do it. I had to be able to go from one job to another and be pretty. And I achieved that for a good long time. I made up those 12 years."

"I think the most important impetus in life, is that it not be boring. The fear of boredom drove me more than any yearning for something I wanted to achieve."

"I don’t use a typewriter or a computer, so everything was written by pen and ink by my little desk. It took me four years to complete it, and as you can see, it wasn’t an easy book to write."

"Learn how to be a waiter."

"The work she did in the film was very sensitive. There was something in her character that struck a chord with her. I found her fascinating."

"I knew my career as an actor would change. I wouldn’t get these parts again. I had reached the age where Hollywood begins to humiliate beautiful women. I wasn’t going to do it. Walking up there, I could almost feel myself accepting that change."

"For an actor, you sometimes have to say yes to these type of jobs. Especially when you get older, and are a woman."

"I’m in my 90s and it’s lovely to have any of my films appreciated."

"I don't know. Just walk. Just walk. My daughter Dinah just found out that a book she’s written, a novel, is being published. It’s very exiting. Maybe we’ll get to go to some great New York bookstore once everything’s back and see it up their on the shelves. That would be fun to walk to."

"The God of Indian devotion - bhakti who responds to the same eternal needs of the human heart as exists anywhere else, never detaches himself wholly from the immanence of the world. He is personal and endowed with feelings only in the eyes of popular piety; to thought he reveals himself both far beyond and within at the same time; he reveals it as much as he hides it; and each man is in himself in some sort a manifestation of God."

"A fetus is no more a human than an acorn is a tree"

"Many women of my generation, in many fields, had good reason to be grateful to the women's colleges."

"Wealth, beauty, and fame are transient. When those are gone, little is left except the need still to be useful, even though the parts get fewer."

"The word "actress" has always seemed less a job description to me than a title."

"Jealousy is, I think, the worst of all faults because it makes a victim of both parties."

"As long as I was playing someone else, I was fine. When I had to be myself, my problems began."

"I learned that carrying on while you're broken is not the answer. I tried to work harder and harder, thinking that work would cure everything. All it did was make things worse."

"I traveled in a world that once was—Hollywood of the war and immediate postwar years. And I existed in a world that never is—the prison of the mind. If what I have learned from these experiences can be summed up in one sentence, it would be this: life is not a movie. But I do not make that point in a sad or regretful way. I can only wonder, if my life had been a movie, would a director have cast Gene Tierney to play the part? The bitter with the sweet makes for a better part."

"[H]eavy load of his far-from-dead past, which was beginning to seem like an albatross around my neck."

"It is the grace of God. Also, if God gives you the grace to live long, you have to work hard too. There should also be a lifestyle adjustment. It is a gift of God. You can’t rule out the efficacy of prayers."

"I love music. I love classical music. That was the thing that first brought us (my husband and me) together. My husband loved classical music and I still do. I have a library in Ibadan for the collection of classical music."

"They say it gives wrinkles but I am lucky no wrinkle…(laughter). Laughter Cheers you more when you are angry before you blow up. Smile more and laughter refreshes not just the soul but the way you look on the outside."

"So for me as a mother…what I sow now in terms of feeding my children properly with nutritious food will remain embedded even at old age."

"The day we met, it was like I met an old friend. It was fantastic. We started talking as if we had always known each other. He was wonderful. When we met later, I read his papers and critiqued them. It was fantastic."

"This is probably the first time any of us would be gathering to witness the launch of a book by a 95-year old. It is an event we all will remember for a long time."

"My father was a missionary teacher, first in Benin, and it was at the same time he became a civil servant."

"I have a baptismal certificate signed by the mission. The date of my birth was in that baptismal certificate."

"I went to primary school in the Cameroons – British Cameroon Tutorial – because my father, who was a chief clerk, was transferred there. From there, I went and took entrance examination to Queen’s College, Lagos. I finished from Queen’s College before proceeding to Yaba Higher College for my Teaching Diploma. Yaba Higher College was the only one around in 1945, training doctors, engineers, and education officers, etc."

"I couldn’t study medicine because Queen’s College didn’t offer sciences in those days.But there was an interesting issue before going to Yaba Higher College. After finishing from Queen’s College, my father went to my principal and asked him if I could take exam to go to Yaba Higher College. It was an all-male institution then. But the principal told my father they would not take me because I was a female and it was all-male institution. But my father disagreed with him, arguing that there was nothing in the instrument setting up that school that forbade women from attending it. So, I took the entrance examination, passed and was admitted. I was the only female student in the first year."

"I was a foundation student of University College Ibadan, from where I got a scholarship to Cambridge University as the first Nigerian female student."

"I obtained BSc and MSc degrees in Geography from Cambridge, before attending Simmons College in America, for a master’s degree in Library Science."

"When I finished at Yaba Higher College, one of my teachers had recommended me to take the entrance examination to Cambridge University, London. I took the entrance exam to read Geography at Cambridge but I had a problem because I did not do Latin in secondary school."

"I taught myself Latin to qualify for the entrance exam. I got credit in Latin after the one-year study and I was able to take the entrance exams and I got government’s scholarship to study Geography at Cambridge University in 1949."

"Because I was a government scholar, I felt like working for the government, but at the civil service, they told me they had no room for candidates that finished with university degree as teachers. So, I went to work for the Anglican Mission. I taught at Anglican Girls’ Secondary School, now St. Margaret’s School, Ilesha, and St. Anne’s School, Ibadan. I lectured at Nigerian College of Science and Technology, and the University of Ibadan, where I also served in the University Library.I became a Reader; Professor; Acting Director, Institute of Librarianship; Head of Department of Library Studies; and Dean of Education. I have carried out and supervised many academic researches. I have more than 50 publications."

"I started a secondary school. That secondary school is still in existence till today. After that, I got married. I had spent two or three years in the school at that time. Then, my husband got an appointment at the University of Ibadan. I moved there with him. At Ibadan, I joined the university as the Map Librarian."

"Yes, it is true. There is no doubt about it because I made the first professorship and I sat on the Senate for the appointment of subsequent professors. The first two professors came from Ibadan and I was the first female professor in Nigeria in any discipline at all. I got it in Library Studies."

"I became a professor in 1973 when the university librarian started a library school in UI and they asked me to come and talk about how to organise maps. After talking about that, they said they would like me to move over and start a library because then we were taking the promotion exams of the UK and (they) wanted us to establish an academic programme. So, I went to Boston, United States, and did a master’s programme in librarianship and then came back and started the Department of Library Studies in Ibadan. I started the first programme except postgraduate and master’s degree programmes in Ibadan."

"More or less, I taught myself, and that was what happened with many of the first teachers in the university. I started a postgraduate programme from University of London (master’s programme) and I supervised 11 PhD holders and so many master’s degree candidates for several years before I retired."

"Well, it was more exciting in the 60s and 70s because interest was very high to the extent that we trained librarians in line with the country’s professional agitations. I was one of those who started a book on professional agitations and I made sure that when we did the national policy implementation, I was in the committee and it was said that no educational institution could be set up without having a library. Then, I went to do a master’s degree programme in library science in the US. I was conscious of the fact that we needed intellectual resources in our country. We should make sure that children have a library."

"In the last 10 years, they have not.I will advise the government to formulate a national policy to support the elderly in our society, whether they are educated or uneducated. The elderly have contributed to the development of the country one way or the other. Not only that, I can tell you that old age is very expensive. To keep fit, the health of the elderly must be fully supported by the government."

"While preparations were being made for my surgery, I kept praying. Surprisingly, the surgeons came two days before the surgery to examine me and check if my pulse had increased as it was very low prior to that time. I was sleeping when they came. They woke me up. When they tested me, they saw that my pulse had gone up to 80 and the surgeons shouted in awe.They said they did not believe my pulse would improve that much. In fact, the surgeons said they had to return my money and everything. They returned my money and never performed the operation again. I am still alive till today – I have been going from strength to strength. God has been so kind and wonderful in my life."

"I met my husband when I came back from Britain. One of my old teachers at Yaba Higher College saw me and was very happy I was back from the UK. I was not married. The teacher said he was going to introduce me to whom he considered as “the most famous bachelor in town”. He did and it was Ayo Ogunsheye – he was then a teacher and Assistant Secretary of Nigeria Union of Teachers. I attended a seminar and we (my husband and I) met. The day we met, it was like I met an old friend. It was fantastic. We started talking as if we had always known each other. He was wonderful. When we met later, I read his papers and critiqued them. It was fantastic. We loved each other when we were together but unfortunately, he died suddenly about 40 years ago. Since his death, God has continued to support me."

"No, I didn’t remarry. Before he died, I had retired from the university and was in Abeokuta as Chairman of Ogun State Teaching Service Commission and was in charge of all the primary and secondary schools in the state."

"Whatever you do in life, do it to the best of your ability and after that, you can say this is the best I could do. Then, there will be no regrets. If you do not succeed at the first attempt, try, try and try again."

"Tiredness is a luxury most people can't afford."

"The work you have produced is a confluence of pure wisdom, raw passion for the environment, a deep sense of patriotism and a pragmatic commitment to get things done to preserve the environment."

"LSTM, along with the mentorship of Dr. Hynes, instilled in me the passion and drive for scientific exploration. Three years of immersive engagement with freshwater ecosystems introduced me to the captivating world of freshwater research and its vulnerabilities. This experience compelled me to initiate national freshwater research to support Ghana's extensive Volta Lake and inland water system. I had the privilege of establishing and leading the National Research Institute for this noble purpose."

"Without a doubt, my proudest moment was embarking on the journey to LSTM at the age of 36, accompanied by my three children, aged 8, 6, and 3. Successfully completing my PhD while managing the responsibilities of motherhood fills me with profound gratitude and fulfillment. Additionally, the memories of my children assisting me in the field, such as helping me climb out of a gorge during our sampling expeditions in North Wales, are cherished moments of accomplishment."

"The Dean, Prof. Maegraith, extended a heartfelt invitation to study for a PhD at LSTM during his visit to Ghana. His inspiring presence left no room for hesitation, and I eagerly accepted the offer with gratitude."

"[Of Mrs Worboys in One Foot In The Grave] She always wanted to help and meant well all the time. It's just that she was tactless and not very bright, although occasionally she'd have these strange streaks of knowledge, like the time she knew all the answers while playing Trivial Pursuit."

"I was rolled down a hill and mounted by a dog."

"No one else could have played Mrs Warboys as she did and the honesty that she brought to every line, however bizarre, was what made the character so funny and legitimised even the maddest of moments. There was never the remotest suggestion that she was playing comedy: in her hands it was all utterly real."

"Poets appeared like flowers on the earth."

"Love, love, love, LOVE where do you hide forever? In the deep. But so deep in ourselves."

"At times I don't know if Hunger or the World allowing Hunger pains me more."

"you see bread is never enough and the soul is always hungry"

"Alone in my room, spinning with the whole world in my head from the day I was born."

"I learned to dream on the roof of the house"

"100 painters engraving their dreams on skin"

"if you feed us the bread of love we will all grow stronger with fraternity with pity with serenity,"

"Ay, those who can't shed light nor let others shed light."

"If you don't like this world we'll change it with kisses"

"I'm just a worm with metaphysical necessities wanting to rise but lacking sun"

"We are born old how life descends and one gets younger."

"I can climb to the top story of the highest poem and throw myself into the vacuum of a life."

"Life itself returns over destruction, putting out death. (1963)"

"We think of these people as primitive, uneducated, crude. But bringing myself a bit closer to their lives, I felt with emotion their capacity for kindness which they radiate, because they contain it, towards any stranger. Every civilized-intelligent person, whom I have known, tends towards evil, coldness, distrust of friend. Every civilized-intelligent person, seated one step above the rest, perhaps in order to spit down on them and shout; "because I am intelligent" -with the right to everything, above everyone. I've come to the conclusion, after briefly touching these high villages without aspirations, that intelligence is not one of the human values I respect. It's inhuman. Especially since those gifted with super doses of cerebral juice can't seem to live in peace with each other. They isolate themselves and retreat from a reality they insist on showing their back. There I found men who escape all definition. Perhaps "pure" is the poor word best fitting. I feel not that "I've arrived" in a marvelous world, but that "I've left" the inclement garbage of the city. (1963)"

"There is space, I say this from my heart, to reconstruct the world. (September 1963)"

"I was four thousand feet high. And more. In the heart of stone of the Andes. The open mouth of the earth surprised me, with its deep color. Like one of her fruits, the coffee bean...A difficult earth, only a bit of earth stretched over the sleeping eye of a volcano. One day she awakes, yawns and swallows an entire village with its men, its screams and its trees. (September 1963)"

"Another day the poor inhabitants lift themselves from the ruins and right there begin to reconstruct the roads; children without shoes, but with joy on their shoulders, return to carry the future. (September 1963)"

"The Nadaistas are a miracle. In many ways they are fighters. I've never seen a whole nation living the exaltation of poetry as if it were a political party. After my reading, I tried to save myself from the Cali effusion and I retreated to my dark room in the hotel. Success frightened me. Or the noise of the crowds. (1964)"

"I'm writing a prologue for the Ajy Tojen like nothing ever read in literature. (1964)"

"Long live the thieves! They don't make a lie of their lives in this wormy society. They are what they are. Sincere in their disgrace. Working with them I've learnt the importance of loyalty and honor."

"Generally, a revolution isn't enough. For me, it's changing one chaos for another. The important thing is to know that which from this moment is to be constructed."

"Raquel Jodorowsky's poems, in form as well as content, have had an enduring impact."

"I remember her as both compact and graceful, shorter than me but with contagious energy. She had long dark hair and eyes that seemed backlit by a magical knowing. Having traveled from Peru, she brought with her its tenuous Andean air and wailing reed pipes. Vivacious and determined, she filled a room with vibrant power. Her poetry captivated us all."

"Raquel was also clearly accustomed to being a lone woman among men. But she operated on a different strata, not because of her gender but because her lifestyle and goals situated her beyond all social constraints. When she read her work, the air turned electric. We listened in awe."

"Another of Raquel's letters included a few lines that continue to resonate with me. She wrote: "You can't imagine, my brother, how much I've thought of our children. In all they have yet to touch, create and do. There is space, I say this from my heart, to reconstruct the world." Today Raquel is long gone, and I am thinking not of our children or grandchildren but of my two young great-grandchildren. Is there still space to reconstruct the world? It doesn't feel like it. And yet I believe that the spirit that palpitates in Raquel's work urges that reconstruction even more now than it did then. And that poetry and art remain our best resistance to the horrors that besiege us."

"In yet another poem, "Chewing" she writes: "This is the first time on earth for me / but I've been in other mouths before and my / heart has beaten in another tongue." And later, in an untitled poem, she describes herself: "Raquel maker of useless poems, says: / I want to regain my dignity / in the poorest spot on earth / dressed in a song to write a song / that doesn't pretend to amuse, honor or impress..." This work is a cry against social hypocrisy, entitlement, consumerism, complacency, ostentation and false idols. Without following party lines or using political jargon, poets such as Raquel honor values necessary to effecting positive social change."

"Being the Queen of Tennis is all well and good, but you can't eat a crown. Nor can you send the Internal Revenue Service a throne clipped to their tax forms...I reign over an empty bank account, and I'm not going to fill it by playing amateur tennis."

"Suddenly it dawned on me that my triumphs had not destroyed the racial barriers once and for all, as I had—perhaps naively—hoped. Or if I did destroy them, they had been erected behind me again."

"People thought I was ruthless, which I was. I didn't give a darn who was on the other side of the net. I'd knock you down if you got in my way."

"I was lean, mean, and hungry."

"It takes a lot to become a champion. You need to be a killer. If you can't look over that net and see Public Enemy Number One, then you aren't going to be a champ.""

"She is one of the greatest players who ever lived. . . Martina couldn't touch her. I think she'd beat the Williams sisters."

"Women need respect, support and opportunity not pity."

"The need to come together and pursue a common cause for our freedom is now, we must rise for the sake of Tanzania"

"This is not only a loss to us as a family, but to the nation of Botswana, SADC region and the world. My mother was a real treasure."

"Was I proud to be a pioneer? Apart from my being the first woman guide I wasn’t that different from my peers. Women mountaineers went way back and then there was the generation immediately before me: role models who formed an all-women club three years before I was born."

"The best things about climbing? Unlimited space. I know where I am in mountains. The stillness: not silence because there is always some sound even if it’s no more than a breeze over rock, but there is no noise. Solitude is fine but, even better, just one companion: the other person on the rope with whom there is a bond that transcends any other relationship: trust, faith, an intimacy that is asexual but essential because in the last resort you are each responsible for the other’s life."

"But the basic pleasure in the hills is the natural environment which can be as fulfilling in later life as rock climbing was in one’s heyday. Equally dangerous when old (and particularly solo) and thus most satisfying to the spirit because the delight in challenges and the pleasure in calculating risks never dies."

"Writing, becoming a successful writer, was a different matter but not unique in the trade. We don’t choose a course in life; our genes dictate the route. I wasn’t born to be a climber and a writer, rather I was inclined to both genetically and the influences arrived: a supportive parent, a perceptive English teacher, favourite authors."

"“The US Constitution is silent on social and economic rights: there is no Constitutional guarantee of a right to education, or to old-age pensions,”"

"“about reconceptualizing the way Americans think about health so as to uncover opportunities to increase the effectiveness of American health care.”"

"“the view that health care and social service investments may best be thought of as operating on a continuum, or perhaps even as two sides of the same coin.”"

"“What are the hallmarks of a patient? Let's see - passive, helpless, things are done sequentially, and well, that is not how people recover. That is not how people learn to live the lives they want or dream of.”"

"“One of the essential qualities of the clinician is interest in humanity, for the secret of the care of the patient is in caring for the patient.”"

"We had mostly pilots in the hospital, [...] and kids who had been playing with bombs they found on the ground and stuff. Pretty harroing, actually but it was intriguing for me just to be meeting other people (en) it opened my mind to communism and things like that which shocked my family."

"But I was taught, or I must have heard it somewhere, that as it became a more important job, men started to get in on it. While it was just a background job, they let the women do it. But when people realized how interesting and creative editing could be, then the men elbowed the women out of the way and kind of took over. There were some wonderful women editors who helped inspire me to go into editing in England. In a way, I've never looked at myself as a woman in the business. I've just looked at myself as an editor. I mean, I'm sure I've been turned down because I'm a woman, but then other times I've been used because they wanted a woman editor."

"Women are mostly mothers and directors are mostly children, so the two go very well together."

"[Asked: "How did your famous match cut in Lawrence of Arabia — the cut from a close-up of Peter O’Toole blowing out a match to a wide shot of the sun rising over the desert — come about?"] By accident. When we were cutting Lawrence, we were working on film, and so when we were running the sequence, we saw it cut together. Nowadays using digital, you would have done a [dissolve] in the machine, and you never would have seen it cut together like it was. Almost at the same moment, David Lean and I looked at each other and said, "That’s a fabulous cut." He said, "It’s not quite perfect — take it away and make it perfect," and I literally took two frames off the outgoing shot, and that's the way it is today."

"[T]here were only certain jobs open to women. Things like hairdressing didn't really interest me. I might have been interested in photography, but women couldn't do that in those days. I found the most interesting job a woman could do, other than acting, was editing."

"I used to have to get my courage up to offer my ideas to David Lean, but that improved as time went on. He used to say to me, "That’s a ridiculous idea, I’ve never heard of such a thing." And I would feel awful. But then he would come up to me a day or two later and say, "You know that idea you had, it's not exactly that but it's close.” It was always worth putting up the ideas. I'm not crushed if they don't want to use them, it's a point of view."

"[On out-takes during the filming of Becket featuring Richard Burton and Peter O'Toole, two notoriously heavy drinkers] Oh, on the beach, they were having a real problem sitting on their horses. It’s a beautiful shot of the beach and I go from a very long shot of galloping into a big head. I had fun with it, but it was difficult. Because they were flubbing their lines, we had to shoot over two days. The clouds are there one day but not the next, and nobody notices that because the actors are so magnetic. The horses were perfectly well behaved, but it was mainly the boys who were trouble."

"When I first came in I wanted to be a director and then later on I had opportunities to be a director and turned them down, because I was married to a director. I never edited for my husband. He did ask me to, but I think if you're there all day working on something, you want to be able to go home and say, "I just worked with that idiot director and guess what he did today!" You can't do that if you’re married to him."

"Jolly, chatty and extremely competent, she is an attractive, hearty person, the sort who can work all day and still have enough energy left to enjoy the evening. Anne taught me women often make better editors than men. They have more patience."

"[Willy Brandt] said: "Come back to my hotel room and we can talk." I went back and we sat down and he asked about my background and we talked and we talked and we talked. I didn't get out until three in the morning and everyone on the Guardian thought: "She must have gone to bed with him." Well, she didn't go to bed with him but she became completely reconciled to Germany because she had got to know Willy Brandt."

"When I started work, women who were doing any kind of political foreign affairs reporting were really very, very thin on the ground. You could really name them all."

"Many refugees who fled Austria before or during the Second World War still refuse to set foot there. But I, a Kindertransport survivor, have no compunction about visiting my native country and cannot recall being made to feel uncomfortable there."

"More than 64,000 Austrian Jews perished in the Holocaust. The fortunate were able to emigrate, but only after all their possessions had been seized. Several thousand Jewish children were saved and put onto the Kindertransport to Britain."

"The journey of my life has been the constant search for escape from the feelings of insecurity as a refugee, which has never gone away."

"[S]he once tripped over and fell, literally, into the arms of President Kennedy. In Washington, she was frequently mistaken for Henry Kissinger's wife. On one occasion after her plane, which was also carrying President Nixon, nearly crashed on the way to Minsk, an absent-minded subeditor bylined her Hella Pinsk."

"Children who seem unlikely to do well ... sometimes find that their work stays on the kitchen wall longer than usual; and so it was with me. I was encouraged to be creative past the usual age because I didn't have much else going for me. I was a skinny, plain, off-looking little girl, deaf in one badly damaged ear from a birth injury, and with a resulting atrophy of the facial muscles that pulled my mouth sideways whenever I opened it to speak and turned my smile into a sort of sneer. I was clever, or, as one of my teachers put it, "too clever for her own good," but not especially charming or affectionate or helpful. I couldn't seem to learn to ride a bike or sing in tune, and I was always the last person chosen for any team."

"You come to a certain age and you know there is no event that can ruin your life. Or completely change it."

"Whenever he felt himself beginning to fancy any girl, after the Ouleymatou experience, the memory of her mocking indifference and his own disillusionment had made him fiercely determined to nip any emotional attachment in the bud."

"Ousmane Gueye, who had mistrusted all women, threw himself at the mercy of a woman, and a white woman at that."

"Was he a possible partner for Mireille? Could he assume such a mutation."

"A Toubab can’t be a proper daughter-in-law. She’ll only have eyes for her man. We’ll mean nothing to her."

"We saw everything through the same eyes before we were married… But now we seem to be divided over everything."

"Love knows no bounds, but sometimes society does."

"The truth can be a harsh and cruel reality."

"In the face of misogyny and injustice, the only hope is escape."

"“Friendship has splendors that love knows not. It grows stronger when crossed, whereas obstacles kill love. Friendship resists time, which wearies and severs couples. It has heights unknown to love.""

"“The flavour of life is love. The salt of life is also love.”"

"“Each life has its share of heroism, an obscure heroism, born of abdication, of renunciation and acceptance under the merciless whip of fate.”"

"“The most humble of huts is pleasing when it is clean; the most luxurious setting offers no attraction if it is covered in dust.”"

"“Teachers – at kindergarten level, as at university level – form a noble army accomplishing daily feats, never praised, never decorated. An army without drums, without gleaming uniforms. This army, thwarting traps and snares, everywhere plants the flag of knowledge and morality.”"

"“Books saved you. Having become your refuge, they sustained you. The power of books, this marvelous invention of astute human intelligence. Various signs associated with sound: different sounds that form the word. Juxtaposition of words from which springs the idea, Thought, History, Science, Life. Sole instrument of interrelationships and of culture, unparalleled means of giving and receiving. Books knit generations together in the same continuing effort that leads to progress. They enabled you to better yourself. What society refused you, they granted.”"

"“The word ‘happiness’ does indeed have meaning, doesn’t it? I shall go out in search of it.”"

"“A nervous breakdown waits around the corner for anyone who lets himself wallow in bitterness. Little by little, it takes over your whole being.”"

"“A woman must marry the man who loves her, but never the one she loves; that is the secret of lasting happiness.”"

"“In a word, a man’s success depends on feminine support.”"

"“Try explaining to them that a working woman is no less responsible for her home. Try explaining to them that nothing is done if you do not step in, that you have to see to everything, do everything all over again: cleaning up, cooking, ironing. There are the children to be washed, the husband to be looked after. The working woman has a dual task, of which both halves, equally arduous, must be reconciled.”"

"The degree of a country’s revolutionary awareness may be measured by the political maturity of its women."

"Mr. Prime Minister, my dear colleagues [she began], "a year ago, I was still a veiled woman. Today, I stand as the elected representative of a department with over one million Muslim French citizens and only 24,000 European French. Despite the views of our colleague Leenhardt, I consider myself as valuable as any other metropolitan deputy. I am proud to be in the French National Assembly, representing all those in the department of Sétif, a former rebel stronghold, who have firmly turned away from the past and chosen to build Algeria's future through France, with France, and within France."

"Hikmat recalled Ms. Ihsan al-Qousi, as well as Ms. Nazla al-Hakim, who cared a lot about her students, both personally and academically, and was keen to listen to their complaints, and to encourage them to give their opinions."

"Hikmat recalled that she travelled to the distant villages and precincts to revive the spirit of national resistance and perseverance. She devoted her articles in al-Gomhouria Newspaper to raise political awareness, and spread the national spirit by discussing models and representations from Egyptian history."

"Hikmat recounted that although Ms. Nazla was against her involvement in the demonstrations, and even suspended her as a result, Ms. Nazla sent a letter to the League of Nations, on Hikmat’s behalf, protesting against the brutal treatment of the demonstrating citizens."

"Some two or three months after I arrived in prison [in 1959], I felt a desire to paint and with it came a refusal to surrender to the status quo…I would go up to the roof of the building to paint anything I could find, eventually painting the inmates."

"One of the most important subjects I painted from inside the prison was Inshirah, who had been sentenced to death, but her execution had been postponed for one year until her child was weaned. Those sentenced to be executed were placed in a cell under special guard so they wouldn’t commit suicide, and they wore red uniforms. While awaiting Inshirah’s execution, I felt the massive tragedy of her story, as she had killed and stolen under the pressure of extremely harsh conditions and overwhelming misery. When I asked to paint her, the director [of the prison] told me that it would be very depressing. I did indeed paint her and her son - this was one of the paintings that were confiscated by the Criminal Investigations Department."

"There was a small tributary of the Nile where sailboats would pass by. We would watch from inside the prison as the sails caught the wind and men climbed up the masts to tie them down. Seeing the wind in the sails stirred many sorrows in me, and sparked an uncontrollable desire for freedom.. I obtained permission from the General Manager to go up to the roof of the warehouse..[and] when the boats appeared [the other inmates] cried out ‘The boats are here!’ I painted many pictures of sailboats, depicting our immobility against the movement of the sails."

"After some time I lost the desire to paint the prison and its inmates — the whole place disgusted me. I began to paint what nature there was behind bars, as we did have some gardens, trees and flowers. I was fascinated by a tree that was near the barbed wire - I’d paint it in every season, and such meticulous attention to a single object taught me a lot. If I’d be outside the prison I never would have painted just that one tree. My fellow inmates even named the tree after me; they called it ‘Inji’s tree."

"I was met with resentment for being a woman. Yet I talked to them and reminded them of the prophet’s wives and families until they changed their opinions."

"I had been exposed only to my relatives and white schoolmates. I spent all my spare time—virtually every day—at the Free Library… There weren’t that many children in my neighborhood, and I very seldom ventured off our block."

"I was always interested in science from age five up. I had an uncle who was a dentist. He motivated me tremendously toward the scientific field. He used to take me to his office, and even though I was never keen on pulling teeth, I was interested in his patient’s reactions and fascinated by the camaraderie between him and his patients."

"Like most people thought about movie stars, I thought about politicians."

"Franklin Roosevelt was the man, and to see him first-hand, close-up, was just… well, he was my number one man. And Mrs. Roosevelt was my number two gal."

"And although the discipline of Catholic schools does not permit open manifestations of racism, there were times when it was made very clear you were not expected to have intellectual achievement because black people were supposed to have smaller brains and all of that."

"I got promoted from the mail department to scheduling and appointments for the Philadelphia area."

"I was turned down many times with the usual response that they had no facilities for women physicians."

"let me just say that I am a candidate. Whatever my opponent hasn’t done, I will do. Whatever he has done, I will do better"

"I do take a relatively scientific approach to politics."

"As a physician, Mr. President, I’d say your gut was anesthetized."

"everything I can get my hands on about Richard Nixon, before and after Watergate"

"If you push me, I may have to run against you, Mr. Mayor. And when I run, I win."

"To teach patriotism in class is impossible. To love my country, my country must be lovely. Teaching it in class won't yield any results"

"My Life is But a Weaving"

"The strength of my faith had, however, varied from time to time, particularly when my family experienced bereavement. There were times when I would ask; God, where were you when this happened?"

"To write what one knows is of great benefit to other people."

"The other four wives had their own quarters in Butukkiro homestead, where they lived with their children. Nonetheless, all the children worked, played and did everything together during the day. Wherever mealtimes found us, there we would sit and have the meal with ‘our mother – it did not matter which one."

"He never tired of teaching us the importance of respecting others. Absolute honesty was central to his life and he constantly told us how it was important to have a sense of shame. A person without sense of shame is not a human being"

"the most honest and authentic account of my life"

"Being at Budo meant growing up and learning alongside boys and young men, a thing that was, hitherto, almost taboo. It would mean all the rough bits - competing, arguing, and fighting – as we learnt to live together in mutual respect. It would stretch my capacity to match the standards set for all. At Budo, I was to be groomed to take on the world of men"

"The death of Sara was a great shock to the whole school. I was overwhelmed with grief. I was broken. With only a year’s age difference between us, we were very close. She and I had done everything together. She was not only my sister, but was also my closest friend,"

"If William Wilberforce had not been close to my two brothers after he joined King’s College Budo, it is possible that he would not have led me to the altar"

"My husband wishes to return to Uganda. I request that he be allowed a secure arrival and stay in the country,"

"As I look back later after extended experience with tyrannical governance, I know that tyrants are always very insecure about anything they imagine could threaten their power, and in their paranoia, they often react brutally. Kalema was one of Amin’s imaginary enemies"

"In most cases, our singing, like in the woman's league, we would take some of the songs sung in the villages, then we put in political words to suit the occasion... There wasn't any particular person at that time, that this was the one who composed those songs for us to sing. No, it was just general singing. Just as we are here. You could start a song, and our songs in most cases, our African songs, they are traditional. They are not difficult to sing. We could easily pick it up, and then we would all sing"

"I had this feeling ... women should be part and parcel of the whole movement, even of running the country. Women should be involved in decision making. That was my aim."

"You know, we are the mothers. We are the ones who bring out children and these children are employed by Wenela [in South Africa] at that time. They go to Wenela and most of them die there. They don't come back alive. And then there's a lot of oppression. There's this thangata and with that federation, unfortunately for them, that time, they had already started removing people in the areas where they thought it was best for Europeans or it was best for farming ... They wanted to make room for Europeans to settle. I said, you can see all these things. Now, we are being removed in our rural areas. We are being pushed here and there. And the women understood. They said, oh yes, then we must do something."

"Meanwhile, the more conservative Asian leaders, such as Dr M.M. Patel who led the Kampala Asian Association, and the two Ismailis, Sherali Bandali Jaffer and Gulamhussein Kassim Lakha who were prominent in the Central Council of Muslim Associations, followed a middle course in avoiding support for any one party."

"My initial goal was to help the mothers and children of Uganda to get a good education, obtain better living conditions and have the economic ability to provide a healthy diet"

"I am happy to say that I was given encouragement and assistance not only by women but by men as well, many of whom were in high government offices."

"The aim was to provide living accommodation at a minimum charge to young girls who had come to Kampala from rural areas to further their education."

"The organization went from strength to strength and I am glad to say is still in existence and carrying out good works to this day"

"there were other organisations that I was a member of. Many of these, like the YWCA, continue with their work today. Up to quite recently, I was active with Uganda"

"I was able to manage both career and family demands smoothly because of the total support I was given by my husband, children, and friends. It also helped that we were well organized"

"The Asian people were very happy and proud that an Asian woman had taken the first step to bring all the communities together and to learn from each other whilst helping each other. The overall aim was to speed up the social and economic condition of Ugandan women since they could make an increasing contribution to the overall progress of the country. Certainly, the education, outlook, and ambitions of the children and youth in every society, are shaped by women. For me, great hope lay in the fact that women were advancing the causes that would bring benefits to the family, people and the country. That they are now marching at an accelerated rate towards an equal position with men gives me satisfaction"

"I have always had a desire to serve my country . . . I also feel that my social work has been responsible in my taking an interest in politics in view of the confidence I had developed amongst people of all races"

"It took away the rights and privileges of an individual and could also act against political organizations which did not see eye to eye with the government"

"The greatest difficulty I had to overcome was to pick myself up and continue working for the good of the country after I walked out of the parliament on a matter of principle,"

"I did so when Obote abolished the universally agreed original constitution and brought on his own. It was virtually a mechanism to open the way for a one-party system. There was no doubt in my mind that it would lead to the end of democracy in Uganda. It goes without saying that it was a horribly frightening experience with potentially disastrous consequences, but I had to be true to my convictions"

"I rejoiced when Idi Amin overthrew Obote. No one had any inkling of the horrors that he would subsequently unleash on the country,""

"I miss the country's beauty, its ideal weather, its fertile land, its beautiful lakes and rivers, its sweet-tasting water. I could go on and on. It is after all my homeland"

"I met many friends who had, in fact, returned to Uganda to re-establish their old businesses. These were early days in the transformation of Uganda. Bear in mind that the country was totally ruined before Museveni took over. Now you could see positive signs of the country being rehabilitated. Major projects for rebuilding roads, the national grid, the water system, in fact, the whole of the infrastructure were underway or in the final stages of planning. The health and education facilities were being revived and expanded. The goodwill of the western countries was clearly in evidence and this was complemented by the dynamism of the people and governmental institutions. The not so good developments in the country are the problems with neighboring countries such as Sudan and Congo. Uganda’s greatest strength at the moment is the goodwill it has around the world. The western powers view it as a model of reform in many ways. They certainly want Uganda to adopt a multi-party system."

"In order to be accepted to become a nurse, you first had to prove you were a failure!"

"…not someone giving it to me but earning my own (PhD)!"

"This is not only a loss to us as a family, but to the nation of Botswana, SADC region and the world. My mother was a real treasure."

"Her diligence and earnest service in nursing also earned her the 2019 Princess Srinagarinda Award, an honour from Thailand."

"I would say my mother was a trailblazer who broke many records and defied the odds."

"We have lost an icon that was recognised in international bodies such as the East, Central, Southern Africa College of Nursing-ECSACON."

"I'll make me a world."

"Learning disabilities in childhood - some guidelines and cautions."

"The management of a child with a learning disability"

"Summary:Traces the lives and careers of the following doctors."

"To be reunited with society through cure was to effect a desired situation in life, whether that be social, biological or spiritual."

"This deeply anthropological understanding of health considered that it is in fact the process of achieving a desired state is of most significance to the sufferer."

"the importance of red symbols as representing the change from sickness to good health because of the therapeutic power of symbolism for the sufferer"

"In spite of Christianity the permeating influence in the Nyuswa reserve is based more on Zulu culture than on any foreign culture’"

"In most aspects of daily life, outlook and habits, I am Zulu in spite of my mission background’."

"Important aspects of Zulu culture were unrecognised and denied by Catholicism, including the recognition of ancestral power, the consulting of a diviner and certain forms of marriage."

"In committing politically, taking up important roles, and expressing their views, these militants were hardly representative of colonial Tunisia’s mostly illiterate and poor Muslim population. But they did break out of the positions generally attributed to women."

"These women’s commitment would nonetheless shape their lives in an enduring way — and leave a mark on Tunisia’s own history. As inspiring figures who had fought for women’s autonomy, they helped prepare the ground for the blooming of Tunisian feminism in the 1980s"

"This paper's first aim is to investigate the theme of death and related to it death-penalty, in More's utopia. Secondly by the way of comparison it will simply explore these themes in some modern utopia novels. On the occasion of the 450th anniversary of More's death-penalty the subject almost imposes itself. Although utopia is generally concerned with this world, with the here and now even when it has an eye on the future, and is, thus, a kind of paradise on earth, while death is a matter of the hereafter, yet death and the death- penalty figure, in some form or other, in many a utopia piece of writing. The choice of representatives samples was no difficult matter. Five fairly well known novels have been selected. First Samuel Butler's Erewhon (1872) one of the two novels generally thought to have greatly contributed to the rise of utopia vague in the modern period (the other being Bulwer Lytton's The Coming Race). Then, Anthony Trollope's The Fixed Period (1882), William Morris's News From Nowhere (1892), Aldous Huxley's Brave New World (1932), and finally George Orwell's Nineteen Eighty-Four (1948). To forestall objections to my using the term utopia in reference to works which have come to be widely,and rightly perhaps, described as 'dystopias',let me point out that I am using it as a sort of generic term to cover both the positive pictures of an ideal world and the negative or satiric projections of the present or the future, no less than works of fantasy of the same genre. I rely for support on More himself, whose mixture of the ideal and the satiric in Utopia still baffles many a reader."

"I examined the personal names occurring on the Knossos. As tablets as evidence for the social structure of Crete in the Late Minoan II period."

"The main conclusion that I drew from this examination was that Greek and non-Greek names were almost inextricably mixed in the lists of men recorded on the tablets, which suggested that at the time when the tablets were written, the Mycenaean newcomers had merged to such an extent with the local inhabitants that there were no social distinctions between the two groups."

"I hope in a future publication to expand the examination of the Knossos tablets to cover the rest of the personal names, and the present study is a step in that direction."

"As in the case of the As tablets, the names of the women are recorded in a number of different ways. Some tablets, e.g. Ap 639, Ap 769 and Ap 5864 (which may be part of Ap 639), contain the names of women."

"SMID was both complex and comprehensive, with indices of linguistic, archaeological, historical, religious, and cultural topics, as well as individual words and phrases in the tablets."

"In the age before , A woman's places is in the kitchen."

"A woman educated is a nation trained."

"I'm 1954, I graduated with a Bachelor's Degree in History."

"I have since been recognised as the first woman university graduate from East and Central Africa."

"anyone would be mad enough to overthrow their king"

"I’d still like every woman to know that you can fight any battle, if it’s worth listening to."

"He ask me to marry him. I accepted him marriage proposal."

"We led a good life until he died a natural death."

"Preparation is key. You can’t wait until the door opens first and then get prepared. You have to be prepared so when the door opens, whatever opportunity presents itself, you’re ready to take advantage of it."

"I was born a Greek, I will die a Greek; Pattakos was born Fascist, he will die Fascist."

"You must understand what the Parthenon Marbles mean to us. They are our pride. They are our sacrifices. They are our noblest symbol of excellence. They are a tribute to the democratic philosophy. They are our aspirations and our name. They are the essence of Greekness."

"One of the most courageous and committed politicians I have ever met."

"Dr. Anderson was a founding member of the PEI chapter of the Canadian Federation of University Women, and her work on celiac disease has been recognized as a significant contribution to both the scientific and educational communities.""

"Doris Margaret Anderson’s expertise in celiac disease and her dedication to education have had a lasting impact on the Island community and beyond, leading to her appointment as a Member of the Order of Canada in 1982."

"Embodied the term “social justice warrior” in its truest form."

"Her decades-long fight for social equality defined her life in public service and her reputation for never backing down truly qualified her for the title."

"She was indomitable."

"A savvy politician who could compromise but knew what she was aiming for and held to the path."

"A lifelong advocate for the disenfranchised, Ackermann was driven by an unwavering conviction in equality for all, a notion spanning her political career."

"She was not interested in the trappings of power"

"She was always a great, wonderful, loving aunt."

"She was an older sister by 12 years to my father Jim. We were always close, and she always loved her state and country and always cared a lot about what was going on."

"She defeated one of the most powerful and influential people in the history of Honolulu politics to become the first female mayor of the City and County of Honolulu. She is a terrific role model for all young girls, and for all the scrappy underdogs who dream of great things. Her contributions to the City will live on in perpetuity."

"With the job of leading the City and County of Honolulu, came the responsibility of making difficult decisions that wouldn’t please everyone. All decisions whether in transportation, tourism, land, or business & industry, would have long term fiscal impacts that ultimately filtered down to the ‘ohana and ʻāina of O‘ahu. Eileen Anderson took this responsibility very seriously. We are proud of her accomplishments and the legacy she leaves behind."

"She left a legacy of service and accomplishments underscored by her great commitment to her faith."

"Known as the “Mother of Historic Preservation,”"

"Is most widely recognized in Guam history for her stand on issues affecting the family."

"Jane was the leader, and she fit the role perfectly."

"She struck a tone between a concerned mother and resident, and an intelligent person who could accomplish what we needed to accomplish."

"People still said, Oh I wish I could vote for her again."

"She threw herself heart and soul into it. She saw a lot of change - it was a fascinating 20 years."

"Jane was a pioneer for women years ahead of everyone else."

"This is a sad loss for Martha’s family, her friends and those she served with in public office. Her years of service reflected a commitment to improving the lives of others, including on the local school board, town council, as a Freeholder and in the Legislature. Her work to preserve natural resources and to spur economic growth will have a lasting impact. I extend my heartfelt condolences to Martha’s family and loved ones."

"Martha was a devoted public servant who made a positive impact on all levels of government and people across the state. Her various service efforts gave children and teens a second chance, improved our environment, enhanced agricultural efforts and promoted economic growth. She will be sorely missed."

"Our state has lost a dedicated public official whose service spanned four decades"

"She was a flat-out good person and a lot of fun to work with, and people are going to benefit from the fruits of her labor for years to come."

"Martha led the charge and she convinced us. Hindsight is best, and she was right. Smithville is one of the jewels of the county and thousands of people now enjoy it because of her efforts."

"She was very supportive of things she felt strongly about"

"Dorothy Pelote's Christian walk was, no doubt, enhanced by the motto by which she lived-- It is Impossible to Serve God Without Service To Your Fellow Man."

"I am a woman who worked in men’s fields for a long time. I insisted on working on the city side of the paper and not the women’s pages. I did it all on my own. Women have to be willing to work and produce and not just expect favors because they are women."

"I’m tired of employing foreigners all the time in foreign countries and helping them out, who plied her district in an American-made station wagon with the license plate, I want to help out Americans."

"Women have to be willing to work and produce, and not just expect favors because they are women."

"Congresswoman Bentley worked with tenacity, energy, and passion on behalf of her constituents, making her a rare breed in politics and a role model to public servants across Maryland."

"Bentley enjoyed wide name recognition from her work as a journalist and her time on the Federal Maritime Commission."

"She was renowned as a journalist and politician, paving the way for women in journalism, advocating for the maritime community, and fighting for the people."

"There has been no one, who has championed the vital role the Port plays in both the global economy and our everyday lives more than Helen."

"You feel like you’ve left your footprint and that you’ve made some difference in people’s lives, being helpful. … Sometimes you just have to believe that you can do it."

"Throughout California, Bergeson was known as a trailblazer for female politicians, initiating a wave of women successfully running for public office."

"An inspiration because she came from grass roots, which is where a lot of the women politicians from Orange County come from."

"We all started on local community councils and committees and worked our ways up, and so did Marian. That was her legacy for us – that you start there and achieve your goals all the way to Congress."

"made a difference for the citizens of California that will not soon be forgotten."

"There was never a problem that she didn’t think could be solved with people sitting down and talking it through. And that’s a throwback to a day that isn’t prevalent anymore."

"She also was really influential in not pulling up the ladder once she achieved what she did but instead reaching down and helping other women get elected."

"Throughout her political career, Bergeson kept a passion for improving education and citizens’ access to it."

"She was a pioneer who gave of herself without reservation, devoting her life to improving the lives of others, especially those with the greatest needs. In doing so, she raised the bar for public service in Orange County and beyond."

"Politics always interested me. I loved my constituents, I love people and I enjoy people, as I love and enjoy every single day."

"Carol Berman’s longevity and unwavering spirit continued to inspire those who knew her. She was a resilient advocate and public servant whose legacy will be remembered by the people she served."

"On October 17, 2023, Carol Berman passed away, leaving behind a legacy of political dedication, unwavering commitment to her community, and a life that spanned an incredible century. Her impact on New York’s political landscape and her indomitable spirit will be cherished and remembered for generations to come."

"She lived an extraordinary life. Carol had this unending warmth of kindness, and I can see how she got things done … (She was) a leader to be reckoned with."

"She had many firsts, even though the Dodgers deserted Brooklyn. My mother empowered me to have an interesting and fun career. She has empowered our whole family and many people who knew her."

"Thank you for everything, Mom . . . love you forever."

"I can only say, as former president of the Mill Brook Civic Association, Carol was always there for us with issues that affected us. You could always reach out to Carol and she was quick to respond. She was a very warm and caring person, and will be greatly missed."

"Carol Berman was a hardworking public official who continued to benefit the community long after her service as a senator."

"My mother lived a wonderful life. On hundred years is a lot to cover."

"Ms. Berman developed relationships with governors, county executives, school districts and political representatives as well as sports and entertainment notables."

"Her dedication to professional development led to many leadership roles in varied vocational and special-education related community services."

"Gertrude Berman was a tireless promoter and advocate for the highest quality education and treatment for her children."

"She got her way more than she ever lost. She was a very tough woman. She could handle herself in any situation and you didn't have to mince words around her."

"She had a great sense of fairness"

"She was a real defender of the women legislators. She was a beautiful person. She was kind and she was sensitive and yet, she was tough."

"She was a great supporter when we started the child-abuse laws."

"And she taught her family to persevere as she did."

"She would say you just have to deal with life on life's terms and do the best you can. That is all that anyone can expect."

"I was 24 years old when I became a widow, and I think about all those mothers who have husbands in Iraq. It will be harder for them than it was for me. I always said that if anything happened to my husband I would take the kids up North. I thought they would have a higher quality education."

"I supported them. I thought what they were doing was correct."

"It was a lot of hard work, And I knew I wasn’t going to win. There are two kinds of power: money power and people power. If you don’t have the money, you can still win with people."

"Things are going so backwards in Milwaukee, makes you wish for those days to come back."

"On a professional level, my law firm also enacts her philosophy. If we make Lucille proud, I know we’re doing our job and making good on our mission statement."

"They need to know why they are where they are. And they don’t. It’s the young people that make the world go ‘round."

"I want change for my grandchildren."

"I’m never afraid to walk the streets of Milwaukee."

"I feel like there is a really long way to go but it’s profoundly meaningful for a homegrown, grassroots activist like Lucille Berrien to have this place in the city."

"I try to enact Lucille’s philosophy – her belief that taking care of others is an essential part of being human and that we can best take care of others when we have a decent public support system to do so. Her life experience is deep and that depth is incredibly informative and beautiful."

"Lucille Berrien is definitely one of Milwaukee’s unsung heros. She gives of herself tirelessly to the downtrodden, the voiceless and the hopeless. It is such a pleasure to have her serve on the board of directors at Village of Hope."

"She put the voice in my head that says, You have a responsibility to take care of people less fortunate than you are."

"Interviewer: In a newspaper article that I glanced at, you mention that a woman’s voice was needed in the government, and I wanted to know what you meant by woman’s voice. What could a woman bring? Georgette Berube: I think a woman can bring a little more sensitivity to particularly issues like childcare, education. Not that men are insensitive, but they don’t view it the same way as a woman might. And I think that women proved that they could also handle budget issues. In fact a very dear friend of mine who was a colleague who chaired, was the house chairman of appropriations back in ’78, I guess, or ‘80, ‘76, ‘78, which was unheard of, a woman did not chair the appropriations committee. So you break the barrier, but you have to do it carefully, you have to put your best foot forward and do it with dignity. And if you go up there and slam things around, that doesn’t go with the general public."

"Interviewer: How did your becoming involved impact your family life? You mentioned that you’d already had two children. Georgette Berube: Yes, my son was four at the time, he was younger than my daughter. It didn’t impact because I was home every night. Now it would be a little more difficult because I serve for example on two committees and that takes me, I stay there a little longer during the day, but I only had one committee assignment the first time I was there. And you really get very busy only toward the end of the session, like April and May, in the first year of the two-year term. And there was always someone here when the children came home from school. I had a housekeeper then who came in every morning. She’d leave when I got home or my husband got home."

"Children are our joy, our hope, our promise, our assurance of a better tomorrow. Tomorrow, society will reflect how we treat children today."

"Connie lived an unbelievable, full life and was successful at everything she did. She was a thoughtful, kind, generous person who just happened to make a lot of history in a rather remarkable career."

"It came down to wanting somebody that would truly be a partner who I could work with. I knew she was a very effective campaigner. She was also somebody who believed we could win."

"She could be forceful and passionate on issues of special concern to her."

"She was a mentor and dear friend who has left an enduring legacy."

"All of Connie Binsfeld’s life was devoted to children and families, particularly children in need."

"Recognized and respected for her listening and speaking skills."

"Connie worked tirelessly in all corners of the state, always taking time to listen to constituents and to help them find solutions to their different problems."

"Connie loved her family, both immediate and extended. She enjoyed nothing more than welcoming all into the home she and John shared on beautiful Glen Lake. Kids and grandkids were always coming and going, with swimming and boating, and many conversations and meals together."

"As a State Senator she tried to remain accessible to the citizens she represented."

"She was often called the conscience of the Indiana State Senate."

"She stood up for civil liberties and women’s rights."

"It is not love. It is the force of evolution expressed as the compulsion for the particular, this particular one above all others. Often, it is called love. . ."

"Reaction to limerence theory depends partly on acquaintance with the evidence for it and partly on personal experience. People who have not experienced limerence are baffled by descriptions of it and are often resistant to the evidence that it exists. To such outside observers, limerence seems pathological. The phenomenon that provides the subject of much romantic poetry and fiction has been called an addiction, an indication of low self-esteem, irrational, neurotic, erotomanic, and delusional. To those without direct experience it seems inconceivable that a sane person could attach so much importance to another individual."

"Many writers on love have complained about semantic difficulties. The dictionary lists two dozen different meanings of the word "love." And how does one distinguish between love and affection, liking, fondness, caring, concern, infatuation, attraction, or desire? The Group was overwhelmingly of the opinion that loving and liking refer to quite different feelings, but what, precisely, constitutes the difference? Acknowledgment of a distinction between love as a verb, as an action taken by the individual, and love as a state is awkward. Never having fallen in love is not at all a matter of not loving, if loving is defined as caring. Furthermore, this state of "being in love" included feelings that do not properly fit with love defined as concern. As de Rougement said, being in love is not the same. One is a state; the other, an act, and an act is chosen, not something merely endured."

"I coined the word "limerence." It was pronounceable and seemed to me and to two students to have a "fitting" sound. To be in the state of limerence is to feel what is usually termed "being in love.""

"Writers have been philosophizing, moralizing, and eulogizing on the subject of "erotic," "passionate," "romantic" love (i.e., limerence) since Plato (and surely long before that). And more often than not, what is said is enough to make a limerent dissolve into the walls in embarrassment. It can be dangerous to stick your neck out on the subject of love—dangerous to your self-esteem and to your reputation."

"It is safer to write as a moralist, as an observer and evaluator outside personal involvement who may not know the precise nature of the subject matter, but who can indicate clearly what others ought and ought not do. Much of the writing in the literature of love was written by persons, who, perhaps never having suffered the insanity themselves but having observed its outward manifestations, are adamantly opposed to it. Limerent persons, sufferers of an unallowable condition, find themselves speechless save for ambiguity of "poetic" expression."

"I rejected "infatuation" because although the meanings of the terms overlap in some respect, they differ in meaning, and evoke different connotations."

"To explain why the environment of our ancestors "selected" limerence, we might consider the behavior it induces. Some limerence-inspired actions are socially undesirable, even socially disruptive. Limerence intrudes, deflecting interest from affairs of business, of state, even of family. In the midst of battle, the soldier's despair over a letter of rejection from LO is not forgotten. A king gives up his crown. An artist's career languishes. But such visible disadvantages should not constitute the sole basis of judgment. The most consistent result of limerence is mating, not merely sexual interaction but also commitment, the establishment of a shared domicile in the form of a cozy nest built for enjoyment of ecstasy, for reproduction, and for the rearing of children."

"The phone rang. It was the doctor. He said, “Mrs. Dahl, ’s dead [from measles]. Did you hear me? I said Olivia is dead.” I said, yes, thank you. I couldn’t believe how cold he was. came back from the hospital and he cried. Oh, he cried. He had seen her dead. I unfortunately never did. My sisters-in-law talked me out of it. I wish they hadn’t. I stayed up that first night just looking out the window. Your love is dead, and the sun still comes up. It’s just so sad."

"I was the strong one at that point. I don’t want to brag about myself, but I’ve never seen anything like it. Roald really almost went crazy. I held everything together. I cooked all day and went on. Of course 34 years ago anything like a survivors’ support group was virtually unheard of. You had to pull yourself together. I loved Olivia, loved her, but my God, I had two more children. I had to go on."

"Over the years, I found that talking about Olivia helped immeasurably. Roald... couldn’t say a word. It was locked inside him."

"Part of my healing came by having another child. No one could replace Olivia, but a new child would begin to heal the emptiness. In a letter to my doctor in California soon after Olivia’s death, I wrote, “I absolutely believe in a soul. And I long to let her go, to free her and hope she will be born again to me.” Two years later, was born and a year after that, ."

"Over the years, I did other things to help keep Olivia’s memory alive, donating a silver cup to her school each year to be awarded to the best high jumper, as she was in 1962. And when I played Olivia Walton in the TV film that preceded The Waltons television series, I insisted that my character’s name not be changed to “Mary” as the producers wanted."

"I keep a few mementos of Olivia around the house. One is a letter that she wrote when she was about 6 to a family friend. It says, “Dear Sheila, Thank you for the bubbly gum. I hope you are well. The bubbly was the most exciting present I ever had and I can blow bubbles... Love, Olivia. XXXXX.” That’s my Olivia. Isn’t she a honey of a girl?"

"A little of this and a little of that and you mix it all together. But a whole lotta love has to go in it. If you don't have that, you have nothing at all."

"Keep busy. Put family first, but treat everybody like family. Save your money, but give the credit to a higher power."

"“I don’t really understand how anybody cannot be an activist in this time and age. We all have an opportunity to be who we want to be, to encourage our children to be what they want to be, and to provide for them so they can become the people they want to be."

"I’d done a lot of reading, and I felt like the North was the place to be,” she said. “There was nothing to do in my hometown that used what I had. I had no freedom. Back in those days, every job you could get had to be with a Black company because no one else was hiring Black women."

"“Having come from the South, it didn’t bother me, because I wasn’t used to talking to white people, anyway,."

"There were all kinds of organizations in the Black community who were glad to accept me."

"This is the true joy in life, being used for a purpose recognized by yourself as a mighty one. Being a force of nature instead of a feverish, selfish little clod of ailments and grievances, complaining that the world will not devote itself to making you happy."

"My life belongs to the whole community and as long as I live, it is a privilege to do for it whatsoever I can. I want to be thoroughly used up when I die, for the harder I work, the more I live. I rejoice in life for its own sake. Life is no 'brief candle' to me. It is a sort of splendid torch which I have got hold of for the moment; and I want to make it burn as brightly as possible before handing it on to future generations."

"We passed s and playing-grounds, and heard from open factory windows the magnified cheerfulness of ""."

"This was India, made for her amusement. Even the sun invited her to pour out her gladness, to soak up its immense generous heat and sweat out her salty thanks. Even the beggars pranced with hope."

"Supper was as convivial a meal as our picnic had been. They sang songs for us, sitting round the table, unaccompanied, Byelorussian and Ukrainian and Russian songs. And they asked me to sing, in return, an English song for them; but I sing , and couldn't."

"Our display is quickly over, since fireworks, we know, cost money, and we three children, from a very early age, are made aware that money is a commodity of which we have wretchedly little. We also know that we mustn't speak of this. Our poverty, like my fear of explosions, is something to be ashamed of, and so to be concealed from the world outside the family. One day my mother, throwing a handful of scrumpled-up rubbish on the fire, notices with horror that amongst the rubbish is a . Ten shillings is a fortune! Too late! It's gone for ever in a lick of flame. Kneeling on the hearthrug, she bursts into tears. This is the first, but not the last time I behold my mother weeping."

"We meet in Smith's idyllic little house bordering in . There are overgrown roses in the front garden and the shelves are crammed full of books, family photographs and a solitary carved wooden bear. An almost-completed crossword lies on a pile of paper next to her armchair. The whole thing is delightfully redolent of a slightly chaotic . As we sit down to talk, a man from pest control knocks on the door and removes a dead mouse from the kitchen. Smith is unperturbed."

"The opening volume of her childhood s, The Great Western Beach (2009), described the first 12 years of her family life in , where all was not well in her parents’ marriage; As Green as Grass begins when the family moves to a house called Melrose in the village of , , where all continues to be not well between Mummy and Daddy. ... What the book is really about is escape: from Melrose, from working as a local schoolteacher in Devon, from a grinding job as secretary in a stuffy hut in the grounds of . ... After the war Smith decides she would like to work in s, and the next thing she knows, she’s on a boat to India with as well as ‘ — Bunny’. She’s the junior, the dogsbody of the filming team, but adores it and, again, we luxuriate in this new escape. Ralph — Bunny wants her to be ‘his girl’, but she escapes from him, too, and marries a much nicer man, who dies six years later. And then, the long silence."

"All hell broke loose at the station when our weather guy robbed the bank, and they needed someone who was there to fill in for the day,"

"I already knew from my calculations that there was going to be a heat wave. When the heat wave hit the next day, the job was mine."

"Too many young blacks believe that the field of meteorology is not open to them; still others are not even aware that the field exists, Society, too, has a moral obligation to put aside the past myths about black Americans not only in the meteorological field but in all of the technical fields."

"Too often girls and minorities get discouraged early in high school from pursuing a career in the atmospheric sciences"

"Science fairs “serve as a natural breeding ground for budding scientists” and “as a continual source of female and minority science-minded students."

"I arrived with tremendous determination: I had to continue Noble’s work, not imitating it, because people are irreplaceable and each one has his own style. But I did have to respect his principles."

"We never thought that, in democracy, doing our job would bring such harsh consequences. We never thought that the persecution and attacks could acquire such brutal methods. They have used the full force of the state against us."

"“As a businesswoman, I feel responsible for the people around me. I feel a great social responsibility for all I have been given, and I believe it’s my obligation to give it back.”"

"We have lived these last three years with more dynamism than the previous ones. My grandson and I built a factory that will produce 2,500,000 tones of cement per year. We invested 250 million dollars in this project. Alejandro Bengolea (Vice President of Loma Negra): We decided to build this factory in the year 1997. From 1997 until now, the investment projects and the plant cost nearly 450 million dollars. This will be the most modern plant of the entire Southern Cone. A.L. de F: On the other hand, this project includes a factory that we built in Ramallo in association with the Techint Group. This is a milling plant and its dimensions are smaller. It also has an information center for the constructors. We have clients of all sizes and also particular people that want to build their houses. This is also an experimentation center with trucks that go trough the entire country. We have some factories in Catamarca, two in Olavarría, and five in Barker. The company has also other ones in Zapala, San Juan and Paraná."

"Yes, we continued with our investment plans. This plant will be ready by March. This is a young country that needs infrastructure. The construction is the mother of all the industries and it also promotes a lot of work posts. This is also a large country. That is why we need transports. We have built this plant thinking about the future. Once the political reliability settles down, Argentina will be able to receive investments from all over the world because this is a peaceful country without any cataclysms."

"We have made a joint venture with ANCAP, an Uruguayan company that produces petrol and cement. This association is very convenient for us because we are going to manage this plant and also sell cement in Brazil or in Buenos Aires. A.B: On the other hand, we have some investment projects with ANCAP because we want to update the plants. We have also thought about exploiting the Uruguayan zone of the Treinta y tres orientales that has great beds of limestone. Then, we are thinking about expanding to the Brazilian South from there. Our alliance with ANCAP also has a regional expansion objective. On the other hand, we also have international expansion plans."

"We are optimists because this is the first time that we are thinking about building a factory outside the country."

"I do not want to say it because this is a secret that only three people know."

"I cannot tell you this by now."

"It could be."

"We do not know it yet because we will be starting this project in one or two years from now. We have now to inaugurate this new plant that produces very well. We have just tested it. On the other hand, we want to maintain our personnel because we have almost a mythical relationship with them. We respect each other. This is not the first economic crisis that Argentina has suffered but, certainly, this is the worst one. A.B: This is the longest one and we suppose that the end of this crisis will not have such a tall peak as the Tequila had. One year after we got over this crisis, we sold 25% more. The end of this one would be more gradual with a development of 4 or 5 %. A. L. de F: The increase could be higher; perhaps it would reach the 8 or 10%. During the previous crisis, the country needed constructions. And again, the construction industry will play an important role in reducing the unemployment rate. The actual presidential secretary, Nicolás Gallo, created a General Infrastructure Plan that meant an important source of employment. A.B: This plan requires an investment of 25, 000 million dollars in a proportion of 5,000 million dollars per year. This was a very aggressive plan that covered the entire country and summed more than 150,000 work posts."

"The objective of the expansion plan is to complement a macroeconomic risk of an emerging country and a developed country. That is how we will be able to balance the incomes and the cash flow avoiding- in this way- the cycles that we have as an emergent economy. It is also necessary to increase the access to capital. The Loma Negra´s plants are operating in world class. The operational levels are the same or even better than the most advanced plants of the world. We use self-conducted equipment that compares us to the best practices. We know how to produce cement and we are adding services to that. We consider that the information technology is very important too. Our customers are able to consult their accounts, order and buy through their pages using the Lomanet technology."

"Petrol is a global factor... A.B: We have not thought about an expansion into the petrol sector, but into the cement industry, in order to add value to our operations. The cement quality will be smoothed in the future. That is why the difference is in the logistics and in the field of IT, matters that occupy the distribution channel. We are now seeing that the competence is not only between the big cementing groups but it also includes the distribution channels. That is why we are aiming to build a logistic network. We built a very important logistic network that is based on strategic alliances with transports. On the other hand, we count on intelligent software that is a leading case in Latin America because it operates with an advanced distribution system."

"I am still one of the principal industrial voices. I have lots of friends that belong to the actual administration and I was also very close to the politicians that belonged to the previous one. The ex president, Carlos Menem appreciated me a lot. It has been a long time since I know De la Rúa."

"We are now building four dining rooms for a school that is very near here. The children are staying all day at school. We have invested 5,600 million pesos on Education and this figure represents the 27% of the total budget. Then, other 29% are for Health and 31% go to non-profit organizations. We want to help the most humble people. The people that decide to feed poor and hungry children in their dining rooms usually use to enlarge their homes in order to be able to do it every day. I contribute with them because I think that these are the real non-profit organizations. There are newspapers that offer a free space in which these organizations can communicate its necessities and also their phone numbers if the readers want to help or contribute with them. We prefer to deliver the money directly. I gave 500,000 dollars to the United Nations when they were collecting for the hungry children from Bosnia. On the other hand, I bought lots of houses for the homeless people. Loma Negra employs people that fought in Malvinas. We also work with disabled people. We teach them how to do the work."

"The museum is under construction. My interest for the fine arts began in the year 1978. I started to bring culture and whenever I bought a painting I have always succeeded!"

"I would tell them to never lose their hopes and to love their fellow men. This is what my live is based on. NOTE: World Investment News Ltd cannot be held responsible for the content of unedited transcriptions."

"I would say [it has evolved] a feeling of freedom and simplicity, sometimes almost hiding elegant details that you notice later in time…I often say that it has to be omnipresent in its disappearance."

"Basically, I always try to reconcile poor and rich materials. It is an anti-ghetto and nonconformist idea about the arrangement of space and light."

"My intention from the very beginning,was to try to find a way that didn't remind me of a thousand other people that I had seen."

"“I often paint a painting until it tells me to stop, and sometimes the white ground still shows,In most cases, I try to make the white ground either a pattern, so that it can be both negative and positive space, or if not that, perhaps an atmospheric wind moving the other colors and shapes around."

"“I feel that an abstract painting is outer space, and I am in front of it, suspended in outer space, so that there isn't any horizon line. However, there is probably a sense of up and down, and side to side.” Beyond that, “I want the viewer to create part of the meaning."

"When I first conceive of a painting‭, ‬I must feel it‭, ‬I hear it‭, ‬I taste it‭, ‬and I want to eat it‭. ‬I start from the driving force‭ ‬of color‭ (‬color hunger‭); ‬then comes to a second color to provide light‭, ‬luminous light‭. ‬It will be the glow to reinforce the first color‭. ‬I then discover the need of one‭, ‬two‭, ‬three‭, ‬or more colors which will indicate and make movement‭, ‬establish the psychodynamic balance in midair‭, ‬allow freedom to take place‭, ‬add weight at the top and bottom of painting‭, ‬and create mythical whirlpools between larger forms‭.”"

"Well, she was not so bad. Her body was long and round and shapely and with a noble squareness of the shoulders; her fair hair curled diffidently about a good brow; her grey eyes, though they were remote, as if anything worth looking at in her life had kept a long way off, were full of tenderness; and though she was slender there was something about her of the wholesome endearing heaviness of the draught-ox or the big trusted dog. Yet she was bad enough. She was repulsively furred with neglect and poverty, as even a good glove that has dropped down behind a bed in a hotel and has lain undisturbed for a day or two is repulsive when the chambermaid retrieves it from the dust and fluff."

"Well, one sounded the bell that hung on a post, and presently Margaret in a white dress would come out of the porch and would walk to the stone steps down to the river. Invariably, as she passed the walnut tree that overhung the path, she would pick a leaf and crush it and sniff the sweet scent; and as she came near the steps she would shade her eyes and peer across the water. “She is a little near-sighted; you can’t imagine how sweet it makes her look.” (I did not say that I had seen her, for indeed this Margaret I had never seen.)"

"She was then just a girl in white who lifted a white face or drooped a dull gold head. And as that she was nearer to him than at any other time. That he loved her, in this twilight which obscured all the physical details which he adored, seemed to him a guarantee that theirs was a changeless love which would persist if she were old or maimed or disfigured. He […] watched the white figure take the punt over the black waters, mount the grey steps and assume their greyness, become a green shade in the green darkness of the foliage-darkened lawn, and he exulted in that guarantee."

"Wealdstone is not, in its way, a bad place; it lies in the lap of open country and at the end of every street rise the green hill of Harrow and the spires of Harrow School. But all the streets are long and red and freely articulated with railway arches, and factories spoil the skyline with red angular chimneys, and in front of the shops stand little women with backs ridged by cheap stays, who tapped their upper lips with their forefingers and made other feeble, doubtful gestures as though they wanted to buy something and knew that if they did they would have to starve some other appetite. When we asked them the way they turned to us faces sour with thrift. It was a town of people who could not do as they liked."

"When she came back into the parlour again she was wearing that yellowish raincoat, that hat whose hearse plumes nodded over its sticky straw, that grey alpaca skirt. I first defensively clutched my hands. It would have been such agony to the finger tips to touch any part of her apparel. And then I thought of Chris, to whom a second before I had hoped to bring a serene comforter. I perceived clearly that that ecstatic woman lifting her eyes and her hands to the benediction of love was Margaret as she existed in eternity; but this was Margaret as she existed in time, as the fifteen years between Monkey Island and this damp day in Ladysmith Road had irreparably made her. Well, I had promised to bring her to him."

"Then, one April afternoon, Chris landed at the island, and by the first clean quick movement of tying up his boat made her his slave. I could imagine that it would be so. He was so wonderful when he was young; he possessed in great measure the loveliness of young men, which is like the loveliness of the spry foal or the sapling, but in him it was vexed into a serious and moving beauty by the inhabiting soul. […] [F]rom his eyes, which though grey were somehow dark with speculation, one perceived that he was distracted by participation in some spiritual drama. To see him was to desire intimacy with him so that one might intervene between this body which was formed for happiness, and this soul which cherished so deep a faith in tragedy."

"As the car swung through the gates of Baldry Court she sat up and dried her eyes. She looked out at the strip of turf, so bright that one would think it wet, and lit here and there with snowdrops and scillas and crocuses, that runs between the drive and the tangle of silver birch and bramble and fern. There is no aesthetic reason for that border; the common outside looks lovelier where it fringes the road with dark gorse and rough amber grasses. Its use is purely philosophic; it proclaims that here we estimate only controlled beauty, that the wild will not have its way within our gates, that it must be made delicate and decorated into felicity. Surely she must see that this was no place for beauty that has been not mellowed but lacerated by time, that no one accustomed to live here could help wincing at such external dinginess as hers."

"& so I bring my journal writing & sit amongst / the ferociously chic at Cafe Flor (which I call / Cafe Voyeur) in an era when everyone has a therapist & no one has a lover. and I have a slice of carrot cake / and a frothy mochachina, sprinkled generously with nutmeg / & cinnamon, sitting there pondering "The Convolution of Desire / & Terror that is the paradigm of human sexuality." And I write / it down completely impressed with myself, smug with the glow, / wondering if anyone-man or woman, or middle aged transsexual / with bad makeup from the nether twilight world of the Tenderloin-- / would stop by to cruise me. YES, EVERY ONCE IN A WHILE / I HAVE AN OUTSTANDING MOMENT OF OBSOLETE HAPPINESS."

"Sybil was now banging on about how hard Humph worked and the havoc caused by boarding school fees for seven. Jack refrained from telling her that you would expect seven children to be more expensive to raise than one or two and that no one had an electric cattle prod on either her rump or Humph's as they herded their offspring into private schools."

"Later that evening, he sat in the bar, pint in one hand, pipe in the other, with good food beneath his belt and listened to the natural harmony of the Welsh fishermen singing their songs of Wales and the sea"

"Mainstream geology is founded upon enunciated by James Hutton (1726–1797) and Charles Lyell (1797–1875), who argued that, during unlimited expanses of time, the Earth has undergone slow, ceaseless change by processes we can observe in operation. In their view, we cannot call on any powers that are not natural to the globe, admit of any action of which we do not know the principle, nor allege extraordinary events to explain a common appearance. A , originating from outside the Earth, and wreaking change instantaneously. Such a process violates every tenet of uniformitarianism. Largely for this reason, hypotheses of impact origin for craters on the Earth and the moon were vigorously opposed for the better part of the past century. Space-age research now has established beyond doubt the authenticity of impact as a geologic process, but an abundance of evidence exists that a wide chasm still persists between the views of impact specialists and those of terrestrial geologists. A full realization of the ramifications of impact processes may have been delayed by the advent of , which engulfed the geological community in the late 1960s. Revolutionary as it appeared at that time, plate tectonics, which is envisioned as involving gradual changes generated by forces internal to the globe, fully conforms with uniformitarian principles. In contrast, impact processes, which have recently been cited to account for cataclysmic events such as massive tsunami deposits, incinerating wildfires, and global extinctions, carry genuinely revolutionary implications that are fatal to the uniformitarian principle itself."

"In August, 1933, at the in Chicago, was founded with an enrollment of 57 charter members and and as the first President and Secretary-Treasurer, respectively. Within five years, the Society had doubled in size, with members from the U.S.A. and ten other nations. Annual meetings were suspended during World War II (1942 through 1945) and when it reconvened in 1946 the members adopted the name “”. By that time personal and professional antagonisms had arisen that threatened to fragment the Society and led, in 1949, to the resignation of Nininger and his wife. Throughout the 1950s the Society was widely regarded as a small, disorganized and essentially moribund organization. Revitalization of the Society began in the early 1960s after the advent of the when the Society steadily gained members with expertise in , , , and , and impact dynamics."

"Since the opening of the , images from have enabled us to map the surfaces of all the rocky planets and in the Solar System, thus transforming them from astronomical to geological objects. This progression of geology from being a strictly to one that is planetary-wide has provided us with a wealth of information on the evolutionary histories of other bodies and has supplied valuable new insights on the Earth itself. We have learned, for example, that the , and that the Moon subsequently accreted largely from debris of . The airless, waterless Moon still preserves a record of the impact events that have scarred its surface from the time its crust first formed. The much larger, volcanic Earth underwent a similar bombardment but most of the evidence was lost during the earliest 550 million years or so that elapsed before its first surviving systems of crustal rocks formed. Therefore, we decipher Earth's earliest history by investigating the record on the Moon. Lunar samples collected by the of the USA and the of the former USSR linked the Earth and Moon by their oxygen isotopic compositions and enabled us to construct a timescale of lunar events keyed to dated samples. They also permitted us to identify certain meteorites as fragments of the lunar crust that were projected to the Earth by impacts on the Moon. Similarly, analyses of the Martian surface soils and atmosphere by the and s led to the identification of meteorite fragments ejected by hypervelocity impacts on Mars. Images of Mars displayed land-forms wrought in the past by voluminous floodwaters, similar to those of the long-controversial of Washington State, USA. The record on Mars confirmed catastrophic flooding as a significant geomorphic process on at least one other planet. The first views of the Earth photographed by the crew of gave us the concept of and heightened international concern for protection of the global environment."

"(About the the of the 1990 high school graduation exam) I would have proposed a different topic. I would have set the Italian exam paper on: “What are the elements that—historically, culturally, and institutionally—define the unity of a country, in a world that, on the one hand, increasingly values particular realities (from an ethnic, traditional, or cultural point of view) and, on the other, broader supranational dimensions?”"

"(About the Bicameral Committee for Constitutional Reforms) The conditions are in place for positive work. We must all carry it out with the best interests of our country in mind. We will and must be judged on this work."

"I believe the time is ripe for a woman as President of the Italian Republic. This is also thanks to the long journey women have made over the past 50 years in the fight for rights and complete equality. :*‘’Bonino: “Yes to the challenge for the Quirinale”‘’, ‘'La Stampa’', March 7, 1999."

"(About the comparison between Palmiro Togliatti and Massimo D'Alema) D'Alema has great political intelligence, but he has less experience, which leads him to be more impetuous and less attentive to repercussions."

"Since women have been recognized as fully equal in the political sphere, with the right to vote and stand for election, it follows that women themselves must be emancipated from conditions of backwardness and inferiority in all areas of social life, and restored to a legal position that does not undermine their personality and dignity as women and citizens."

"(About the exploratory task of forming a government entrusted to her by Francesco Cossiga) Perhaps to say that it is a historic event is to say too much. But certainly, it is a development of no small importance. :*‘’“I light a candle, so that it won't be me”‘’, ‘'La Stampa’', March 28, 1987."

"(About Palmiro Togliatti) They spoke of his ties to Stalin and his awe, even in difficult times. In reality, he knew him little: they had met on three or four occasions. He admired him as a tough and tenacious fighter, but he understood the revelations of the 20th Congress and was shocked by them. [...] He had a keen sensitivity, a strong propensity to understand. I know that the image of him is different, but I knew him in another way. He defended himself against facts that deeply disturbed him, but his intelligence forced him to accept them as moments in the journey of civilization."

"(About the defeat of the Popular Democratic Front in the 1948 elections) On April 18, we found ourselves faced with a population called upon for the first time, unlike in 1946, to choose the parties that would govern after the breakup of the anti-fascist unity. It was a society we knew very little about."

"From an interview with ‘'l'Unità’'; quoted in ‘’[http://www.archiviolastampa.it/component/option,com_lastampa/task,search/mod,libera/action,viewer/Itemid,3/page,9/articleid,1326_02_1988_0094_0030_19271116/ Nilde Iotti recalls April 18, 1948. “At that time, the Italian Communist Party did not understand society,” La Stampa, April 16, 1988."

"(About Massimo D'Alema secretary of the Democratic Party of the Left) At a time like this, we need a party leader with many skills."

"The Constitution does not and cannot have either an ideology or a partisan philosophy."

"(About nuclear armaments) The atomic race has reached a dangerous and intolerable limit, as ordinary citizens in every country understand. The time has come for their leaders to understand this too. :*From a speech to Michelin workers; quoted in ‘’A message of peace and hope from Nilde Iotti visiting the “Granda”‘’, ‘'La Stampa’', March 18, 1985."

"The presence of women in Parliament has elevated women's issues as an integral part of Italian political life. In the past, these issues were kept on the sidelines."

"The Resistance was an extraordinary event. It achieved a truly exceptional unity that ranged from Badoglio's officers to communist workers."

"(Referring to the Northern League) The leagues stir up old ideas of separation and selfishness that call national unity into question."

"In the democratic system established by the Constitution, the Parliament, and only the Parliament, is the expression of the will of the people. Our Constitution does not allow the country to be without a Parliament endowed with its powers for even a single day."

"We ask that children born outside of marriage be recognized in all respects, both during marriage and when that marriage has broken down, because we believe that this is the only possible solution, the only morally just solution. [...] Children do not ask to be born, and the responsibility for their birth does not lie with them, but with the parents who brought them into the world. Therefore, the responsibility of the parents cannot fall on them."

"I shouldn't speak, given that I was president of the Chamber of Deputies, but de Mita's main flaw is that he wants to respond to everyone who speaks, one by one. He never waits for the discussion on a point to be exhausted. :*‘’Iotti: “De Mita does not know how to be president”, La Stampa, November 19, 1992."

"(About the attack to Palmiro Togliatti) It is impossible to understand that dramatic event without recalling the heated climate that followed the Christian Democrats' resounding election victory on April 18, 1948. That climate was very important, it was decisive. No one could have imagined that the election campaign led by the Church of Pius XII and the civic committees of Luigi Gedda could reach such a degree of violence. A violence that did not abate on the part of the victors even after their overwhelming success. That atmosphere, I repeat, was undoubtedly at the root of the attack to Togliatti. :*‘’Four gunshots to kill the Best‘’, ‘'la Repubblica’', July 14, 1998."

"(About her relationship with Palmiro Togliatti) To think that I could have made an emotional ultimatum such as “if you stay in Russia, I'll leave you” is to ignore the nature of our relationship and Togliatti's temperament. :*‘’A story of love and politics‘’, ‘'La Stampa’', March 28, 1987."

"(About women's commitments beyond work) When I started my political career, I had a home and had to think about that too, in addition to the thousand commitments that political life entails. :*‘’Parliament celebrates Nilde Iotti's 70th birthday‘’, ‘'La Stampa’', April 10, 1990."

"(Abot attack to Palmiro Togliatti) When, a few days after his surgery, he was allowed to read the newspapers, Togliatti wanted to read the reports of the attack. He was struck by a nine-column headline in L'Unità: “Away with the government of civil war.” I remember his comment: if they had written “Away with the Minister of the Interior,” that would have been a request that was not only plausible but also acceptable! And in fact, it later emerged that in the Council of Ministers, which met urgently on the same day as the attack, the Minister of Foreign Affairs, Carlo Sforza, and his undersecretary, a very young Aldo Moro, had raised the issue of the Minister of the Interior's resignation."

"(About the request for a new Constituent Assembly during Tangentopoli) A constituent assembly is convened when there is such a rupture within the country, as happened after the war and after the fall of fascism, and this was indispensable. Even in the presence of very serious events, of a dangerous degeneration of the political system, we are not in a post-war situation, and resorting to a constituent assembly seems to me to be truly excessive."

"Interviewer: In recent months, you have become even more popular because you are the author of a proposal to drastically reduce—if not halve—the number of deputies and senators. Why? Nilde Iotti: In 1948, when the Constitution of the Italian Republic came into force, we were emerging from fascism and there was a need to reestablish a relationship, a democratic fabric with society. But now there are: Regional Councils, which were elected in 1970, Provincial Councils, Municipal Councils. We are faced with a much more complex society, a more complex democracy. So, I believe that the number of parliamentarians is really too high."

"We loved the mountains. Togliatti was a keen walker, as was I."

"(About Togliatti's memorial) It is not true that Togliatti was exploited, that the memorial was used against Khrushchev. I do not see a connection between the memorial and the fall of Khrushchev. The great process that would lead to this event was already underway in the USSR."

"(About his last trip to Russia) Togliatti was concerned about relations between the USSR and China, and about the situation between the party and intellectuals that had arisen after Khrushchev had taken a very rigid and harsh stance."

"(Aboout the Togliatti amnesty of 1946) The amnesty helped break the continuity with a regime that constantly preached revenge."

"(About Togliatti's failure to participate in the Resistance movement) I assure you that Togliatti was not far from the Resistance. He was a cold man, yes. But he hated badges, and the only one he always wanted to show off was the one given to him by the Volunteer Corps of Freedom. If he could have, he would have parachuted into northern Italy. Cold, yes, but he had utopia inside him."

"Talking about amnesty in the case of the Years of Lead would be out of place. Let's not forget that the armed struggle was waged against a democratic state, not against a fascist regime."

"(About Clean Hands) What frightens and worries me is the slowness of the judicial proceedings in the face of a perverse intertwining of politics and business that has increasingly taken on the configuration of a vast, widespread, ramified system."

"I don’t want to know movie directors."

"I have no television – I hate it"

"I don’t think Ripley is gay. He appreciates good looks in other men, that’s true. But he’s married in later books. I’m not saying he’s very strong in the sex department. But he makes it in bed with his wife."

"He worked hard. And now, he deserves to rest."

"In the long run, extinctions of species are as inevitable as the deaths of individual animals, and it may be that the causes of extinctions are as varied as the causes of individual deaths.A wave of extinctions—a sudden diminution in the number of species—is analogous to a sudden big drop in the size of a human population, an event that deserves to be explained even though the individual people would inevitably have died sooner or later anyway. Catastrophes in human populations have many causes: war, famine, and pestilence are the possibilities that first spring to mind. There may be equally many causes for evolutionary catastrophes, as waves of extinctions could well be called. Another possibility, however, is that extinctions come in waves that are part of a recurring cycle. It would then be the cycle itself, rather than each individual wave in the cycle, that would need to be explained. If there is such a cycle, it presumably follows a cycle in the inorganic world, such as cyclic climactic changes."

"From the time the European invaders of North America established themselves and began keeping records, the bitter winters of the Little Ice Age become part of written history.From that point also, the natural history of northern North America began to deviate from its “natural” course. The continent was no longer isolated. The foreign invaders multiplied rapidly, destroying native ecosystems at an ever increasing rate. In time, the byproducts of technology began to poison earth, water, and air and have now begun to influence the climate. The measured responses of biosphere to climate, and of climate to astronomical controls have, for the foreseeable future, come to an end."

"In three months, the Inquirer had not only helped to oust Marcos, it was also making money."

"[Tinikling] does become a contest between the dancer and the clapper."

"Dancing to a Bamboo Beat The New York Times"

"Aren't you tired writing about me? You should meet my niece who studied and worked in New York."

"... pick up one of those superb books such as Private Gardens of England, by , on a wild, wet afternoon in February when the wind is shrilling outside, moaning through the gaps and spattering the window with rain. Turn to a picture of Saling Hall showing blues and silvers against the static severity of s, or see the black and white photographs of roses, cobbles and at , in which there's a table and chairs glimpsed through an open door in the garden wall. Books such as these are indeed a strong element of the whole pleasure of gardening; they need to be devoured and mulled over as well as those which are carried round in an earthy hand as vital advice flows out on what to do with five hundred s at the s."

"Ideally, should be approached from the heights of Whitcliffe Common for views of its and the among the cluttered roofs and chimneys, the rosy-pink bricks, the half-timbered houses and somber gray stone of the ancient town walls. The circling the town is spanned by the medieval and Dinham bridges — the latter immortalized in paintings by . From where I live, beside the renovated 12th-century chapel of St. Thomas of Canterbury and a gnarled magnolia tree, I cross Dinham Bridge to wander alongside water meadows of s, , and grazing cattle. Swans glide on the river, the water roars and tumbles over the weir, and the mercurial flight of a appears like a hallucination."

"Living in after we married, where we had a small farm with neither nor and where each spring a stallion bedecked with ribbons walked the lanes servicing the mares, we often made the journey between the country and London, a slow and un-trafficky journey through the before the age of motorways."

"orientale can produce a lush effect under trees—it is much too coarse for small gardens but can be splendid where something elephantine is needed. The flowers come before the leaves; rather naked-looking pink stems of blue -like flowers in early spring are followed by huge hairy leaves, handsome in the right setting."

"Concerning whether to or not, of course I do not disapproved of all watering. That would be hypocritical, since we must irrigate the nursery crops and do water parts of the garden, such as the Wood Garden, in very dry times. But my thinking on the subject is based on the assumption that water is our most precious commodity as the world population continues to explode, and modern demands for water are often in excess of actual need. Combine this with the , then surely we must be prepared to reconsider some of our gardening practices."

"s make a blaze of rose-pink, both ' and , while ’Blackthorn Apricot' is an orange-pink, , perhaps. It now looks well beside the grey-leafed ' with its spires of pea-green hiding tiny lemon-yellow flowers, or with the distinctive ' ’Euphorbioides', a plant I much admire."

"Beth Chatto, who died last year, was singularly forward-thinking and knowledgeable, and her near in have been a continual draw to enthusiasts for half a century. ’s authorised biography, Beth Chatto: A Life with Plants (Pimpernel, £30), based on diaries, notes and conversations, is a faithful, workmanlike account of a truly remarkable plantswoman and artistic gardener (as well as a very nice person) who emphasised the importance of understanding ecology in growing plants successfully, and whose naturalistic exhibits in the 1970s and 1980s were a revelation."

"The distinguished nurserywoman Beth Chatto, who has died aged 94, was one of the most influential horticulturists of the past 50 years. Well known and respected for the she started in in 1967, she was also an inspirational writer and lecturer whose great theme was the importance of providing garden plants with an environment as close as possible to their native . During the 1970s, she won 10 successive gold medals at the , where she introduced ecological ideas into , demonstrating the possibilities of natural plant groupings, while also achieving the highest aesthetic standards. In those days nurseries arranged their plants for maximum visual impact regardless of differing plant needs. Chatto’s approach was a revelation and immediately established her significance as a guide to better and more environmentally friendly gardening techniques. She stressed the importance of looking at the whole plant, foliage as well as , and judging the quality of a plant by observing it throughout the seasons."

"is credited with introducing into India the traditionally used by the s as elegant camping groounds. ... Not merely settings for occasional enjoyment, gardens were Babur's preferred residence just as they were for his ancestor (Tamerlane, 1336–1405). The Timurids' inclination for fighting was equaled by their enthusiasm for building, and during the century following Timur's death the forms and ornamenatation of their architecture became ever more refined. The exuberantly tiled, gittering order of and with their green belts of great s were Babur's architectural idea. Several of Timur's residential gardens in Samarqand were described by , the Spanish ambassador to Timur's court. ... Large enclosures with fragrant fourfold gardens, coursing water and brimming pools, plantations of trees with colorful pavilions scattered throughout became a Timurid tradition. Fruit trees were planted in profusion, and , who has writtn with such authority and insight on , relates these Timurid enclosures to the Persian bustan, or . ..."

"In the first century , Roman warriors invaded Persia for power and plunder and were captivated by the s. Following his extended Eastern campaigns, the Roman general, , returned to Rome and retired to the great gardens he built in the Persian style. He had an interest in philosophy, wrote a history, and collected a great library, but he was also . His were so large and costly to build that he was called " in a " by when he saw them. ... Lucullus is credited with introducing the and the to Europe in these gardens."

"The small and graceful with its solitary pink blossoms was … acquired from with the , often favored for its delicate flowers and heart-shaped leaves. China in turn imported the native Persian vine, , onion, , and and began cultivation of . Called Medice by the Greeks for the lush valleys of where it grew wild, alfalfa was first introduced to Greece when the Persians under carried it there as ."

"The Taj Mahal is an unforgettable visual experience. With every change of light there appear subtle variations in the hue of the luminous ; at times it appears to be a vision."