Women from the United States

"I needed to sing — desperately. My voice poured out more easily because I was no longer singing for anyone's approval; I was beyond caring about the public's reaction, I just wanted to enjoy myself. … I had found a kind of serenity, a new maturity, as a result of my childrens' problems. I didn't feel better or stronger than anyone else but it seemed no longer important whether everyone loved me or not — more important now was for me to love them. Feeling that way turns your whole life around; living becomes the act of giving."

"A happy woman is one who has no cares at all; a cheerful woman is one who has cares but doesn't let them get her down."

"There is a growing strength in women but it's in the forehead, not the forearm. Men will always be attracted to women with nice soft arms and a fleshy bosom."

"Why should I go when it's going so good? … I lived through the garbage. I might as well dine on the caviar."

"So long as it doesn't get to the point where you don't remember whose opera you're listening to, I'm willing to experiment."

"I've always tried to go a step past wherever people expected me to end up. I'm not about to change now."

"My voice had a long, nonstop career. It deserves to be put to bed with quiet and dignity, not yanked out every once in a while to see if it can still do what it used to do. It can't."

"Art is the signature of civilizations."

"I really do believe I can accomplish a great deal with a big grin, I know some people find that disconcerting, but that doesn't matter."

"There are no shortcuts to any place worth going."

"You may be disappointed if you fail, but you are doomed if you don't try."

"In youth, we run into difficulties. In old age, difficulties run into us."

"You don't always get what you ask for, but you never get what you don't ask for... unless it's contagious!"

"Christians should never fail to sense the operation of an angelic glory. It forever eclipses the world of demonic powers, as the sun does a candle's light."

"Everything you need you already have. You are complete right now, you are a whole, total person, not an apprentice person on the way to someplace else. Your completeness must be understood by you and experienced in your thoughts as your own personal reality."

"Attachment to spiritual things is... just as much an attachment as inordinate love of anything else."

"Anger begins with folly, and ends with repentance."

"A primary function of art and thought is to liberate the individual from the tyranny of his culture in the environmental sense and to permit him to stand beyond it in an autonomy of perception and judgment."

"For me... the notion of an intimate relationship between music and society functions not as a distant goal but as a starting point of great immediacy, and not as an hypothesis but as an assumption. It functions as an idea about a relationship which in turn allows the examination of that relationship from many points of view and its exploration in many directions. It is an idea that generates studies the goal of which (or at least one important goal of which) is to articulate something essential about why any particular music is the way it is in particular, that is, to achieve insight into the character of its identity."

"This shared concern with continuity accounts for a good part of the affinity I feel with Schoenberg, an affinity I have openly claimed in drawing from him both the title and the subtitle of the present volume. To me, as to Schoenberg, such continuity constitutes important evidence that the essentially aesthetic act of constructing a 'text,' whether on paper or in one's professional life, has been subjected to rational restraints, in all the Kantian senses of 'rationality.' From this viewpoint, continuity is valued as a sign that a text has been carefully constructed to meet rigorous standards not only of formal coherence but also of logical precision and, espeically crucial, of moral scrupulousness."

"People are like stained-glass windows. They sparkle and shine when the sun is out, but when the darkness sets in, their true beauty is revealed only if there is a light from within."

"As far as service goes, it can take the form of a million things. To do service, you don't have to be a doctor working in the slums for free, or become a social worker. Your position in life and what you do doesn't matter as much as how you do what you do."

"We make progress in society only if we stop cursing and complaining about its shortcomings and have the courage to do something about them."

"Learn to get in touch with silence within yourself and know that everything in this life has a purpose. There are no mistakes, no coincidences; all events are blessings given to us to learn from. There is no need to go to India or anywhere else to find peace. You will find that deep place of silence right in your room, your garden or even your bathtub."

"We have to ask ourselves whether medicine is to remain a humanitarian and respected profession or a new but depersonalized science in the service of prolonging life rather than diminishing human suffering."

"There is not much sense in suffering, since drugs can be given for pain, itching, and other discomforts. The belief has long died that suffering here on earth will be rewarded in heaven. Suffering has lost its meaning."

"Guilt is perhaps the most painful companion of death."

"Watching a peaceful death of a human being reminds us of a falling star; one of a million lights in a vast sky that flares up for a brief moment only to disappear into the endless night forever."

"Those who have the strength and the love to sit with a dying patient in the silence that goes beyond words will know that this moment is neither frightening nor painful, but a peaceful cessation of the functioning of the body."

"It is difficult to accept death in this society because it is unfamiliar. In spite of the fact that it happens all the time, we never see it."

"Those who have been immersed in the tragedy of massive death during wartime, and who have faced it squarely, never allowing their senses and feelings to become numbed and indifferent, have emerged from their experiences with growth and humanness greater than that achieved through almost any other means."

"Dying is something we human beings do continuously, not just at the end of our physical lives on this earth."

"The Swiss-born psychiatrist Elisabeth Kubler-Ross changed western cultural resistance to dealing with death, and the teaching of how to accept it... Kubler-Ross's best known contribution to the study, thanatology, that she had helped to create, was the five stages of dying people go through. She described them - denial, anger, bargaining, depression and acceptance - in her bestseller On Death And Dying (1969), written in two months. Not everyone experiences all five, she cautioned, but at least two are always present. The definition, reached after scores of interviews with people facing imminent death, helped the medical profession to deal with a factor it had long refused to acknowledge, especially in the US... She wrote more than 20 books.. A firm believer in a god and the life hereafter, she became fascinated with near-death experiences and an advocate for people's stories of seeing a shining light and familiar faces, before being brought back from the brink."

"Anita, I have just come the comforting conclusion that I'll have to paint acres and acres of water color landscapes before I will look for even a passably fair one. After about ten attempts — I certainly have to laugh at myself — It's like feeling around in the dark — thought I knew what I was going to try to do but I find I don't — and guess I'll only find out by slaving away at it. I feel — like a wreck — Have been working like mad all day — and you know how deliciously disgusted with every thing one can be — when the sun begins to go down — and one has been working ones head off all day. It gives me the sensation I used to have when I was a youngster and was going away from home on the train — It is a very special sort of sick feeling."

"Today I walked into the sunset — to mail some letters —.. .But some way or other I didn't seem to like the redness much so after I mailed the letters I walked home — and kept walking - The Eastern sky was all grey blue — bunches of clouds — different kinds of clouds — sticking around everywhere and the whole thing — lit up — first in one place — then in another with flashes of lightning — sometimes just sheet lightning — and some times sheet lightning with a sharp bright zigzag flashing across it -. I walked out past the last house — past the last locust tree — and sat on the fence for a long time — looking — just looking at — the lightning — you see there was nothing but sky and flat prairie land — land that seems more like the ocean than anything else I know — There was a wonderful moon. Well I just sat there and had a great time by myself — Not even many night noises — just the wind —.. .I wondered what you were doing - It is absurd the way I love this country — Then when I came back — it was funny — roads just shoot across blocks anywhere — all the houses looked alike — and I almost got lost — I had to laugh at myself — I couldn't tell which house was home - I am loving the plains more than ever it seems — and the SKY — Anita you have never seen SKY — it is wonderful —"

"Last night I couldn't sleep till after four in the morning – I had been out to the canyon all afternoon – till late at night – wonderful color – I wish I could tell you how big – and with the night the colors deeper and darker – cattle on the pastures in the bottom looked line little pinheads. I can understand Pa Dow painting his pretty colored canyons – it must have been a great temptation – no wonder he fell. Then the moon rose right up out of the ground after we got out on the plains again – battered a little where he bumped his head but enormous – There was no wind – it was just big and still – so very big and still – long legged jack rabbits hopping across in front of the light as we passed – A great place to see the night time because there is nothing else. – then I came home – not sleepy so I made a pattern of some flowers I had picked – They were like waterlilies – white ones – with the quality of smoothness gone."

"Anita – I am so glad I'm out here – I can't tell you how much I like it. I like the plains – and I like the work [her painting] – everything is so ridiculously new – and there is something about it that just makes you glad you're living here – You understand – there is nothing here – so maybe there is something wrong with me that I am liking it so much."

"Your letter became before I was up this morning – Yes nice to get. I recognize two of the drawings you speak of – Number one is the first of the dozen or more you speak of – number 2 came next The last – It didn't quite satisfy me so I tried again – the last one was so much worse than the one you like that I thought I had just about worn the idea out so quit.. .You ask me what I did with the rest of myself when I made number 2 -.. .I sat up almost all night one night this week and made the most infernally ugly little shape you ever saw – I wanted to break it when I got through – but didn't then next afternoon when I had time to look at it, it amused me so that I didn't – really its laughable – it's so ugly – and still some way it's quite beautiful – I don't know – I may break it up – or I may try to cast it just for fun – I have another idea that I'm in an awful stew to model – I am going to get a lot of patience so I can make all the little do-dangles I want to and won't have to break one up so I can make another – I want to make a big one.."

"Walked way out in the plains in the moonlight – there is no wind – so still – And so light – I wish you could see it – with miss Hibbits – she was born in Ireland –.. .The plains start right across the roads from this house – there is just nothing out there – she says she has often ridden till ten or eleven o'clock at night – alone – nothing to be afraid of – because there is nothing out there – Its great – I am not even having the smallest wish for N.Y. ..."

"The plains are very wonderful now – like green gold and yellow gold and red gold – in patches – and the distance blue and pink and lavender strips and spots – May sounds like a Dow Canyon but really its wonderful – specially in the evening – I usually go alone – Yesterday rode home on a hay wagon – no it was clover with a funny old man – His mules and wagon blocked my path so we started talking.. .We had a great time riding toward the sunset. He was little and dried up and weather beaten – but he likes living.."

"As I opened the door — I heard cattle — many — in the pens over by the track — lowing — I wonder if you ever heard a whole lot of cattle lowing — it sounds different here — too — just ground and sky — and the lowing cattle — you hardly see — either them or the pens — the pens are of weather beaten boards — take on the color of the ground it seems — I like it and I don't like it — its like music — I made up a tune this morning — Well — I heard the cattle — as I opened the door — and I liked it and I didn't liked it — then I read your letter as I walked to breakfast — a great letter — Anita -"

"I have been thinking of what you say about form.. .I feel that a real living form is the natural result of the individual’s effort to create the living thing out of the adventure of his spirit into the unknown.. ..and from that experience comes the desire to make the unknown known. By unknown I mean the thing that means so much to the person that he want to put it down - clarify something he feels but does not clearly understand.. .Making the unknown known.. ..if you stop to think of form as form you are lost."

"I thought you could write something about me that men can't – What I want written – I do not know – I have no definite idea of what it should be. – but a woman who has lived many things and who sees lines and colors as an expression of living – might say something that a man can't – I feel there is something unexplored about woman that only a woman can explore – Men have done all they can do about it. Does that mean anything to you – or doesn't it?"

"School and things that painters have taught me even keep me from painting as I want to. I decided I was a very stupid fool not to be at least paint as I wanted to and say what I wanted to when I painted as that seemed to be the only thing I could do that didn't concern anybody but myself.. .I found that I could say things with colour and shapes that I couldn't say in any other way things that I had no words for."

"I had wanted to talk with you about lots of things.. .I am anxious to get to work for the fall – it is always my best time I had one particular painting – that tree in Lawrence's front yard as you see it when you lie under it on the table – with stars – it looks as tho it is standing on its head – I wanted you to see it.."

"I am on the train going back to Stieglitz – and in a hurry to get there – I have had four months west and it seems to be all that I needed – It has been like the wind and the sun – there doesn't seem to have been a crack of the waking day or night that wasn't full – I haven't gained an ounce in weight but I feel so alive that I am apt to crack at any moment..."

"I have frozen in the mountains in rain and in hail – and slept out under the stars – and cooked and burned on the desert so that riding through Kansas on the train when everyone is wilting about me seems nothing at all for heat – my nose has peeled and all my bones have been sore from riding – I drove with friends through Arizona – Utah – Colorado – New Mexico till the thought of a wheel under me makes me want to hold my head."

"I got a new Ford and learned to drive it – I even painted – and I laughed a great deal – I went every place that I had time for – and I am ready to go back East as long as I have to go sometime – If it were not for the Stieglitz call I would probably never go – but that is strong – so I am on the way ... I hope a little of it stays with me till I see you – It is my old way of life – you wouldn't like it – it would seem impossible to you as it does to Stieglitz, probably – but it is mine – and I like it – I would just go dead if I couldn't have it.."

"I know I cannot paint a flower. I can not paint the sun on the desert on a bright summer morning but maybe in terms of paint color I can convey to you my experience of the flower or the experience that makes the flower of significance to me at that particular time."

"Color is one of the great things in the world that makes life worth living to me and as I have come to think of painting it is my effort to create an equivalent with paint color for the world – life as I see it."

"The large 'White Flower' [Georgia painted in 1929] with the golden heart is something I have to say about White – quite different from what White has been meaning to me. Whether the flower or the color is the focus I do not know. I do know that the flower is painted large to convey to you my experience of the flower – and what is my experience of the flower if it is not color."

"Artists and religionists are never far apart, they go to the sources of revelation for what they choose to experience and what they report is the degree of their experiences. Intellect wishes to arrange — intuition wishes to accept."

"A flower is relatively small. Everyone has many associations with a flower - the idea of flowers. You put out your hand to touch the flower — lean forward to smell it — maybe touch it with your lips almost without thinking — or give it to someone to please them. Still — in a way — nobody sees a flower — really — it is so small — we haven't time — and to see takes time, like to have a friend takes time.. .So I said to myself — I'll paint what I see — what the flower is to me but I'll paint it big and they will be surprised into taking time to look at it — I will make even busy New-Yorkers take time to see what I see of flowers.. .Well — I made you take time to look at what I saw and when you took time to really notice my flower, you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower — and I don't."

"So, probably.. ..when I started painting the pelvis bones I was most interested in the holes in the bones — what I saw through them - particularly the blue from holding them up in the sun against the sky as one is apt to do when one seems to have more sky than earth in one's world.. ..they were most beautiful against the Blue — that Blue that will always be there as it is now after all man's destruction is finished."

"Equal Rights and Responsibilities is a basic idea that would have very important psychological effects on women and men from the time they are born. It could very much change the girl child's idea of her place in the world.. .It seems to me very important to the idea of true democracy – to my country – and to the world eventually – that all men and women stand equal under the sky – I wish that you could be with us in this fight.."

"Singing has always seemed to me the most perfect means of expression. Since I cannot sing, I paint."

"It seems odd to think of you at Lake George tonight – I can smell the outdoors – and hear it – and see the stars – So often before I went to bed at night I would walk out toward the barn and look at the sky in the open space. There was no light little house – there were no people – there was only the night – I will never go back again – maybe to stand just for a moment where I put the little bit that was left of Alfred [Stieglitz] after he was cremated – but I think not even for that. I put him where he would hear the lake. – That is finished."

"My spring has been much better than every travelling springs of the last two years — I have been working — or trying to work my garden into a kind of permanent shape.. .At the moment I have three rose bushes so full of red and yellow roses that they look on fire — they are really astonishing — You would really laugh to see them — two are very tall — the other smaller — It is a rose that is the reddest red on top and yellow underneath — then sometimes a few spots that are deep butter yellow — and an odd iris — dirty lavender petals reaching up — a pale lavender mixed with yellow that greys it and yellow petals mixed with a little lavender drooping down — very handsome — There are lots of ordinary colors too — many kinds. Well — that's my life —"

"..About my work Howard – I always have two opinions – one is my way of seeing it for myself – and for myself I am never satisfied – never really – I almost always fail – always I think – now next time I can do it – Maybe that is part of what keeps one working – I can also look at myself – by that I mean my work from the point of view of the looking public – and that is the way I look at it when I think of showing. I have always first had a show for myself – and made up my mind – then after that it doesn't matter to me very much what anyone else say – good or bad."

"Dear Anita [ w:Anita Pollitzer ], don't forget w:Mary Cassatt [as one of her inspirations] — and I am not sure that your new paragraph will hold water [(Anita had sent her a chapter of the biography she was writing about Georgia] — We [artists] probably all derive from something — with some it is more obvious than with others — so much so that we can not escape a language of line that has been growing in meaning since the beginning of lines."

"Dear Anita, I read your manuscript some time ago and it has lain on my table — ..You have written your dream picture of me — and I am not that way at all. We are such different kinds of people that it reads as if we spoke different languages and didn't understand one another at all. You write of the legends others have made up about me — but when I read your manuscript, it seems as much a myth as all the others. I really believe that to call this my biography when it has so little to do with me is impossible — and I cannot have my name exploited to further it."

"I do not like the idea of happiness — it is too momentary — I would say that I was always busy and interested in something — interest has more meaning to me than the idea of happiness."

"The meaning of a word — to me — is not as exact as the meaning of a colour. Colours and shapes make a more definite statement than words. I write this [1974] because such odd things have been done about me with words. I have often been told what to paint … I make this effort because no one else can know how my paintings happen."

"I don't really know where I got my artists idea. The scraps of what I remember do not explain to me where it came from. I only know that by this time [her eight grade's year] it was definitely settled in my mind."

"On the way I stood a moment looking out across the marshes with tall cattails, a patch of water, more marsh, then the woods with a few birch trees shining white at the edge on beyond. In the darkness it all looked just like I felt. Wet and swampy and gloomy, very gloomy. In the morning I painted it. My memory of it is that it was probably my best painting that summer.."

"Those perilous climbings [with her sister Claudia, in the Palo Duro Canyon, 1916] were frightening, but it was wonderful to me and not like anything I had known before. The fright of the day was still with me in the night and I would often dream that the foot of my bed rose straight up into the air — then just as it was to fall I would wake up. Many drawings came from days like that, and later some oil paintings."

"Bement [her art teacher] told me things to read. He told me of exhibitions to go and see [c. 1917].. ..the two books that he told me to get were Jeromy Eddy 'Cubists and Post-impressionism' and Kandinsky 'On the Spiritual of Art'... It was some time before I really begun to use the ideas. I didn't start at until I was down in Carolina — alone — thinking things out for myself."

"Later I had two green ones [alligator pears] — not so perfect. I painted them several times [c. 1920] when the men [American modernist artists, a.o. Marsden Hartley ] didn't think much of what I was doing. They were all discussing Paul Cézanne, with long involved remarks about the 'plastic quality' of his form and colour. I was an outsider. My colour and form were not acceptable. It had nothing to do with Cézanne or anything else. I didn't understand what they were talking about why one colour was better than another.. .Years later when I finally got to Cézanne's Mont Sainte-Victoire in the south of France, I remember sitting there thinking, 'How could they attach all those analytical remarks to anything he did with that mountain?' All those entire words piled on top of that poor little mountain seemed too much."

"The clean clear colours [of a Shanty farm] were in my head. But one day as I looked at the brown burned wood of the Shanty, I thought 'I can paint one of those dismal-coloured paintings like the men. I think just for fun I will try — all low-toned and dreary with the tree besides the door.' In my next show [c. 1923], 'The Shanty' went up. The men seemed to approve of it. They seemed to think that maybe I was beginning to paint.. ..that was my only low-toned dismal-coloured painting."

"I painted 'the Shelton with Sunspots' [New York], in 1926. I went out one morning to look at it before I started to work and there was the optical illusion of a bite out of one side of the tower made by the sun, with sunspots against the building and against the sky. I made that painting beginning at the upper left and went off at the lower right without going back."

"I find that I have painted my life, things happening in my life — without knowing. After painting the Shell and shingle [c, 1926] many times, I did a misty landscape of the mountain across the lake, and the mountain became the shape of the shingle — the mountain I saw out my window, the shingle on the table in my room. I did not notice that they were alike for a long time after they were painted."

"After I had been in Canada painting the wide white barns along the Saint Lawrence river, I thought how different the life of the Canadian farmer was from life in Cebolla. So I painted [in 1945] the Cebolla church which is so typical of that difficult life. I have always thought it one of my very good paintings, though its message is not as pleasant as many of the others."

"There are people who have made me see shapes — and others I thought of a great deal, even people I have loved, who make me see nothing. I have painted portraits that to me are almost photographic. I remember hesitating to show the paintings, they looked so real to me. But they have passed into the world as abstractions - no one seeing what they are."

"I don't remember where I picked up the head — or the hollyhock. Flowers were planted among the vegetables in the garden between the house and the hills and I probably picked the hollyhock one day as I walked past. My paintings sometimes grow by pieces from what is around.. .I have used these things to say what is to me the wideness and wonder of the world as I live in it."

"It is surprising to me to see how many people separate the objective from the abstract. Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colours put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint. … I found I could say things with color and shapes that I couldn't say any other way — things I had no words for."

"The unexplainable thing in nature that makes me feel the world is big fat beyond my understanding — to understand maybe by trying to put it into form. To find the feeling of infinity on the horizon line or just over the next hill."

"I hate flowers — I paint them because they're cheaper than models and they don't move!"

"In comparing a natural black iris to the O'Keeffe painting titled 'Black Iris', there is no denying the edge of realism, but there is also no denying the lack of detail. Her paint brush blatantly neglected to add the feathery golden pollen of an iris's stigma as well as the wrinkled texture of the iris's velvet-like petals. Instead, she created softness in the petals that resembles human flesh, and tinted it in pale, pinkish tones rather than the bluish, black hues of a black iris."

"Though she decided early that she had little aptitude for singing, Georgia played both the and the piano with considerable skill. Music was a source of great pleasure and sustenance to her throughout her life, and her later decision to concentrate exclusively on art was a difficult one for her to make."

"And that - that's death riding high in the sky. All these things have death in them.. ('Ever since the middle Twenties', I said') ..Exactly, ever since I realized O'Keeffe couldn't stay with me."

"(Women you respect most?) Georgia O'Keeffe, Martha Graham. For reasons plain to all-among them, common to both, an inviolate independence of spirit in pursuing their arts, the wholeness of their gifts of the imagination."

"Alone I walked on the ocean strand, A pearly shell was in my hand; I stooped, and wrote upon the sand My name, the year, the day. As onward from the sport I passed, One lingering look behind I cast, A wave came rolling high and fast, And washed my lines away."

"Wisdom, Power and Goodness meet In the bounteous field of wheat."

"Come out — pretty Rose-Bud, — my lone, timid one! Come forth from thy green leaves, and peep at the sun! For little he does, in these dull autumn hours, At height'ning of beauty, or laughing with flowers."

"I am feeble, pale and weary, And my wings are nearly furled; I have caused a scene so dreary, I am glad to quit the world! With bitterness I'm thinking On the evil I have done, And to my caverns sinking From the coming of the sun."

"The Frost looked forth one still, clear night, And he said, "Now I shall be out of sight; So through the valley and over the height In silence I'll take my way.""

"The gay rights movement is not a party. It is not a lifestyle. It is not a hair style. It is not a fad or a fringe or a sickness. It is not about sin or salvation. The gay rights movement is an integral part of the American promise of freedom."

"In keeping with the WXLT practice of presenting the most immediate and complete reports of local blood and guts news, TV 40 presents what is believed to be a television first. In living color, an exclusive coverage of an attempted suicide."

"She had written something like 'TV 40 news personality Christine Chubbuck shot herself in a live broadcast this morning on a Channel 40 talk program. She was rushed to Sarasota Memorial Hospital, where she remains in critical condition."

"He looks as though he's been weaned on a pickle."

"The little man on the wedding cake."

"If you can't say something good about someone, sit right here by me."

"I have a simple philosophy. Fill what's empty. Empty what's full. And scratch where it itches."

"I've always believed in the adage that the secret of eternal youth is arrested development."

"I valued my independence from an early age and was always something of a individualist … Well, a show-off anyway."

"I can be President of the United States, or I can control Alice. I cannot possibly do both."

"Resentment isn't a magnetic personal style."

"Wit penetrates; humor envelops. Wit is a function of verbal intelligence; humor is imagination operating on good nature. John Kennedy had wit, and so did Lincoln, who also had abundant humor; Reagan was mostly humor."

"Candor is a compliment; it implies equality. It's how true friends talk."

"I would think to myself [...] that the battle for the mind of Ronald Reagan was like the trench warfare of World War I: Never have so many fought so hard for such barren terrain."

"The Democrats had long labeled the impeachment debate a distraction from the urgent business of a great nation. But the Republicans argued that the pursuit of justice is the business of a great nation. In winning this point, they caught the falling flag, producing a triumph for the rule of law, a reassertion of the belief that no man is above it, and a rebuke for an arrogance that had grown imperial."

"Mr. Bush is the triumph of the seemingly average American man. He's normal. He thinks in a sort of common-sense way. He speaks the language of business and sports and politics. You know him. He's not exotic. But if there's a fire on the block, he'll run out and help. He'll help direct the rig to the right house and count the kids coming out and say, "Where's Sally?" He's responsible. He's not an intellectual. Intellectuals start all the trouble in the world. And then when the fire comes they say, "I warned Joe about that furnace." And, "Does Joe have children?" And "I saw a fire once. It spreads like syrup. No, it spreads like explosive syrup. No, it's formidable and yet fleeting." When the fire comes they talk. Bush ain't that guy. Republicans love the guy who ain't that guy. Americans love the guy who ain't that guy."

"I do not know what the Democratic Party spent, in toto, on the 2004 election, but what they seem to have gotten for it is Barack Obama. Let us savor."

"Imagine for a moment that angels exist, that they are pure spirits of virtue and light, that they care about us and for us and are among us, unseen, in the airport security line, in the room where we watch TV, at the symposium of great minds. "Raise your hands if you think masturbation should be illegal!" "I'm Bob Dole for Viagra." "Put your feet in the foot marks, lady." We are embarrassing the angels. … Lent began yesterday, and I mean to give up a great deal, as you would too if you were me. One of the things I mean to give up is the habit of thinking it and not saying it. A lady has some rights, and this happens to be one I can assert. "You are embarrassing the angels." This is what I intend to say for the next 40 days whenever I see someone who is hurting the culture, hurting human dignity, denying the stature of a human being."

"At some point, don't voters start to see all of public life as one big polluted river? And if they do, don't they stop saying things like "That's a busted tire floating by" and "That's an old shoe"?"

"The most qualified? No. I think they went for this — excuse me — political bullshit about narratives."

"Because she jumbles up so many cultural categories, because she is a feminist not in the Yale Gender Studies sense but the How Do I Reload This Thang way, because she is a woman who in style, history, moxie and femininity is exactly like a normal American feminist and not an Abstract Theory feminist; because she wears makeup and heels and eats mooseburgers and is Alaska Tough, as Time magazine put it; because she is conservative, and pro-2nd Amendment and pro-life; and because conservatives can smell this sort of thing — who is really one of them and who is not — and will fight to the death for one of their beleaguered own; because of all of this she is a real and present danger to the American left, and to the Obama candidacy."

"Some things in life need to be mysterious. Sometimes you need to just keep walking. … It’s hard for me to look at a great nation issuing these documents and sending them out to the world and thinking, oh, much good will come of that."

"I think it's Romney. I think he's stealing in "like a thief with good tools," in Walker Percy's old words. While everyone is looking at the polls and the storm, Romney's slipping into the presidency. He's quietly rising, and he's been rising for a while."

"Who knows what to make of the weighting of the polls and the assumptions as to who will vote? Who knows the depth and breadth of each party's turnout efforts? Among the wisest words spoken this cycle were by John Dickerson of CBS News and Slate, who said, in a conversation the night before the last presidential debate, that he thought maybe the American people were quietly cooking something up, something we don't know about.I think they are and I think it's this: a Romney win."

"Donald Trump’s hold on history loosened, and may be breaking. In some new way his limitations are being seen and acknowledged, and at a moment when people are worried about the continuance of their country and their own ability to continue within it. He hasn’t been equal to the multiple crises. Good news or bad, he rarely makes any situation better. And everyone kind of knows."

"Judgments on the president’s pandemic leadership have settled in. It was inadequate and did harm. He experienced Covid-19 not as a once-in-a-lifetime medical threat but merely a threat to his re-election argument, a gangbusters economy. He denied the scope and scale of the crisis, sent economic adviser Larry Kudlow out to say we have it “contained” and don’t forget to buy the dip. Mr. Trump essentially admitted he didn’t want more testing because it would result in more positives. And the virus rages on, having hit blue states first and now tearing through red states in the South and West — Arizona, Florida, the Carolinas, Texas. The protests and riots of June were poorly, embarrassingly handled. They weren’t the worst Washington had ever seen, they were no 1968, but still he wound up in the White House bunker. Then out of the bunker for an epically pointless and manipulative photo-op in front of a boarded-up church whose basement had been burned. Through it all the angry, blustering tweets issued from the White House like panicked bats fleeing flames in the smokestack. It was all weak, unserious and avoidant of the big issues. He wasn’t equal to that moment either."

"When the Trump experience is over, the Republican Party will have to be rebuilt. It will have to begin with tens of millions of voters who previously supported Mr. Trump. It will have to decide where it stands, its reason for being."

"...developing AI is biting the apple. Something bad is going to happen. I believe those creating, fueling and funding it want, possibly unconsciously, to be God and on some level think they are God. It will have to begin with tens of millions of voters who previously supported Mr. Trump. It will have to decide where it stands, its reason for being."

"Some Never Trumpers helped create the conditions that created President Trump. What would be helpful from them now is not pyromaniac fantasies but constructive modesty, even humility. The party’s national leaders and strategists don’t have a lot to be proud of the past few decades. The future of the party will probably bubble up from the states. But it matters that the past six months Mr. Trump has been very publicly doing himself in, mismanaging his crises — setting himself on fire. As long as that’s clear, his supporters won’t be able to say, if he loses, that he was a champion of the people who was betrayed by the party elites, the Never Trumpers and the deep state: “He didn’t lose, he was the victim of treachery.” Both parties have weaknesses. Liberals enjoy claiming progress that can somehow never quite be quantified. Conservatives like the theme of betrayal. It will be unhelpful for Republicans, and bad for the country, if that’s the background music of the party next 10 years."

"As for the politics here, what can you do? There’s a lot of posturing, but it’s all kind of meaningless."

"At Ault, it wasn't just that we weren't supposed to be bad or unethical; we weren't even supposed to be ordinary, and stealing was worse than ordinary. It was unseemly, lacking subtlety, revealing a wish for things you did not already have."

"I always worried someone would notice me, and then when no one did, I felt lonely."

"I did not scream or hug anyone. In fact, as the noise gained momentum, I felt its opposite, a draining of excitement. But not a draining of tension - my body was still stiff and alert, and the impulse I had, strangely, was to weep. Not because I was sad but because I was not happy, and yet, like my classmates, I'd experienced an emotional surge, I too felt the need for expression. This phenomenon -- being gripped by an overwhelming wave of feeling that was clearly not the feeling of the people around me -- had also happened at a pep rally: It made me uncomfortable, because I didn't want anyone to notice that I wasn't jumping up and down or cheering, and it also thrilled me, because it made the world seem full of possibilities that could make my heart pound. I think, looking back, that this was the single best thing about Ault, the sense of possibility… In my whole life, Ault was the place with the greatest density of people to fall in love with."

"For the whole movie, I had that sense of heightened awareness that is like discomfort but is not discomfort exactly -- a tiring, enjoyable vigilance. I did not get a grasp on the movie's plot, or the names of any of the characters. Then it was over and the lights came on… Maybe this was the place Cross and I would part ways, I thought. And maybe we wouldn't even say good-bye, now that he was with his friends again; maybe I was just supposed to know."

"I have always found those times when another person recognizes you to be strangely sad; I suspect the pathos of these moments is their rareness, the way they contrast with most daily encounters. That reminder that it can be different, that you need not go through your life unknown but that you probably still will - that is the part that's almost unbearable."

"Before or after your stole my best friend? But the real question is if you were using me to get to Martha all along, or if you just took an opportunity when you saw it."

"Flawed as I was, someone recognized me."

"As I watched her leave, my mind shot ahead to a time in the future when we would not share a room, when our daily lives would not overlap. The idea made me feel as if I were being held underwater. Then I thought, you’re being so ridiculous; you have almost three more years together, and I could breathe again. But I knew, I always knew- and as unhappy as I often was, the knowledge never made me feel better; instead it seemed the worst part of all- that our lives at Ault were only temporary."

"I believed then that if you had a good encounter with a person, it was best not to see them again for as long as possible."

"How did you even know if you loved another person? Was it a hunch, like a good smell that you couldn’t identify for sure, or did a time come when you had evidence? Was it like walking through a house and once you’d crossed a certain threshold, that was love and you could never turn back? Maybe you’d go into other rooms, you’d fight or even breakup, but you’d always be on the other side of love, after and not before it. My interest in couples felt anthropological - even liking Cross, even wanting to hear from Martha that she could imagine me dating him, I myself could not imagine us together... When I through of Sin - Jun and Clara - and I did so often- what was hardest to wrap my head around was how they’d been a couple while living in the same room. How had they known when to fool around and when to just sit at their desks doing homework? Hadn’t it been either too intense, too tiring to always be around the person you wanted to impress, or else too familiar? Maybe in such close quarters you gave up hope of impressing them and sat there picking your earwax and not caring if you looked cute. But didn’t you lose something there, too? If that was what people meant by intimacy, it didn’t hold much appeal for me- it seemed like you’d be fighting each other for oxygen."

"Hardly ever did it matter if you brushed your hair before driving to the grocery store, rarely did you work in an office where you cared what more than two or three people thought of you. At Ault, caring about everything was draining, but it was also exhilarating."

"But then she’d know what she’d probably only suspected- how messed up I really was, how much I’d been misleading them for the last four years."

"But while I was in their city, it just seemed like such a mistake that I had ever left home, such an error in judgment in all our parts."

"I forgot, over and over, that the fact of my wanting something wasn’t enough to make it happen."

"The newly minted author of the novel Prep talks about high school, gratuitous sex, and why her parents shouldn't be worried"

"When I read Curtis Sittenfeld's debut novel Prep, I highlighted passages for the first time since I was a student. So many of the main character's high school observations rang true that I couldn't help myself."

"We never really cared about all the things that other people cared about, you know? Like, people recognizing me on the street never interested me. I've always been kind of suspicious of the world, anyway, so it's pretty easy for me to live in my own little world."

"I don't want to know about my biggest idols. I don't want to read their autobiographies, I don't want to find out what they're really like."

"I was able to afford a car that didn't break down every five minutes."

"Actually I don't. I've never played with a bass player before, so I wouldn't even know. It wouldn't feel like it's missing, I just think it's normal … I prefer it that way so I only have to concentrate on Jack."

"It's in this book I was reading. Apparently, there's a little red demon dwarf that haunts the city, and before every major bad thing that's happened, it's appeared to somebody. Last time, he appeared in a Cadillac."

"We were like a moth right next to the flame. It's like, do any more and you go down. We were so tired. One final lap, and then have a rest."

"I wasn't brought up with any religion, actually."

"We've never had problems. We love each other, understand each other, and get past anything."

"A really unique feel and super heavy because of the space between the hits. Very influential on me as a teenager. I often think of her when doing certain kick and cymbal hits together. —"

"The White Stripes weren't all about Jack White's howling, ripping guitars, even if that's where the conversation tends to go in certain circles. The fact is, Meg White's minimalistic style was the perfect counter to Jack's shredding, a primal dynamic that gave their tunes that definitive garage stomp. Jack provided the flash, Meg provided the feel."

"At 13, I was fearless. I looked at everything so positive. When you're older and been through it all, you know how bad it can get. There is a fear of failing."

"As a child, I'd wonder, 'When I die, will people still remember me 1,000 years later?' And without the gold medal … Well, the Olympics are the ultimate achievement in my sport. At times I think, 'Why should I push myself all those long hours in the rink?' But then I think, 'How will I ever know how good I could have been?' I want to be the Michael Jordan of my sport."

"It's incredible. Nine? Wow. I just remember winning my first one, getting the medal and the plate, the pin with the diamond for first place. My ninth title, I have no answer for that because I never thought it would be possible."

"I don't wanna get rich — just live good."

"You don't appreciate home until you leave it and, let me tell you, you can't appreciate life till you've almost left it! Some people hope and die with their song still in them. I used to think that happiness resulted when my earnings matched my yearnings! But not anymore!"

"Oh, I just sing like I hurt inside."

"Find one person in the audience and sing to them with all of your heart. And then cast a spell over them. Hoss, if you can't do it with feeling — don't."

"You're alright honey. Anyone who'll stand up to "The Cline" is alright. We're going to be good friends."

"When I find out who stole it I'll take blood, ass and all!"

"Before Dolly, Loretta and Reba, there was Patsy. She was the first female country headliner and one of the first artists in the genre to have crossover pop success, which is basically a pre-requisite in terms of Rock Hall induction. During her prime, Cline was very much on the same level as fellow stars like Johnny Cash and Elvis Presley and is a clear example of the Rock Hall’s need to focus more on women."

"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 had to ask, "Is it a true story, Aunt Charlotte?" Aunt Charlotte looked at me without saying anything for a while. Then she said, "I've told you my story. What you believe is up to you, Marguerite.""

"They looked like business cards. Instead of a printed name, a filigreed gold line wrapped itself in a design in the middle of each white rectangle.:"What are they?" Selene asked. "Wishes," said the elf prince. "You've got three. Just make a wish and burn a card. It doesn't"-- he looked her over with contempt --"require a college education." "Thanks, but no, thanks," said Selene, handing the cards back. She'd read about people who were offered three wishes my malevolent spirits. No matter what they wished, something terrible happened. She looked carefully at the man. Behind the nice suit and tie, he was just as she thought a malevolent spirit might appear. "What do you mean, 'Thanks, but no, thanks'? They are perfectly good wishes, I assure you. They're not cheap 'wish for Popsicles' wishes, young woman. They are very high quality. Here." He pushed them towards her. "Wish for anything. Go ahead." "I wish for peace on earth," Selene said, and sneaked a look over her shoulder. Her bus was coming up the street, but still two blocks away. "That's not a thing!" snarled the elf prince. "That's an idea, that's a concept. I didn't say wish for a concept. I said a thing. A material object. Go on." Selene stood her ground. "I'd rather not.""

"The jam is from my mother's pantry." "Oh, does your mother live far from here?" "Not far," he responded, "as the crow flies."

"The factory doesn't like to hear too much talk about things it doesn't believe in. Contrary to what you may have heard, the factory has never found a single problem caused by ghosts. So if you meet any ectoplasmic spirits up there in the high crane, I suggest you be polite and they'll probably be polite right back. You're up there alone for fourteen hours a day, and you might find it's nice to have someone to talk to."

""And we never get any older. Richie and Alex will always be ten. My sister and Todd will always be newlyweds. Angela will always be two. And I will always be the only one with no one my age to talk to." "You have me to talk to," pointed out John. Edwina smiled. "You aren't afraid to talk to ghosts?" "Not at all." John realized the truth as he said it."

"Mother said she couldn't guess what was worse, to be a two-year-old with a cold forever or to live with a two-year-old with a cold forever."

""I can steal anything." "So you claimed. It was a wager to that effect that landed you in prison." He picked a pen nib off the desk behind him and turned it in his hands for a moment. "It is too bad for you that intelligence does not always attend gifts such as yours, and fortunate for me that it is not your intelligence I am interested in, but your skill. If you are as good as you say you are." I repeated myself. "I can steal anything." "Except yourself out of the king's prison?" the magus asked, lifting one eyebrow this time. I shrugged. I could do that, too, but it would take time."

""...Everything about you reveals your low birth. You'd never be comfortable at the court." "I'd be famous." "Oh, you're already that, Gen," he said pityingly."

""You can always give me some of Ambiades's food." The magus gave me an ugly look. "You'll get your share and nothing else. No one's going hungry so that you can eat." :"I don't see why not," I said as I lay down on the grass for a nap. It had dried in the sumer sun to crakling stalks that poked me in the arms and neck. "I'm a lot more important than anyone else here," I told the blue sky above me."

"Ambiades, I realized, was the kind of person who liked to put people in a hierarchy, and he wanted me to understand that I was at the bottom of his. He was supposed to treat me politely in spite of my subservient position, and I was supposed to be grateful. For my part, I wanted Ambiades to understand that I considered myself a hierarchy of one. I might bow to the superior force of the magus and Pol, but wasn't going to bow to him. Neither of us moved."

"Neither the king's reward nor Pol could stop me, but I wanted to be a kingmaker myself. I wanted to be the first one to steal Hamiathes's Gift in hundreds and hundreds of years. I wanted to be famous. Only I couldn't steal the damned thing if I didn't know where if was, and only the magus could find it for me. I would stay with him until he led me to the stone, but I promised myself that someday I would stick a sharp knife into his arrogance and give it a good twist."

""Surely I am a better mistress to serve?" "You are more beautiful, Your Majesty." The queen smiled again before I finished. "But she is more kind." So much for discretion. The smile disappeared. You could have heard a pin drop onto the stone floor as her alabaster cheeks flushed red. No one could ever accuse the queen of Attolia of being kind."

"With my good hand I reached under the braid at the base of my neck to free the thong that was tied there. It was the shorter of the two that Pol had given me on the banks of the Aracthus. One-handed, I couldn't easily get the knot undone, and several strands of my own dark hair came with the thong when I pulled it free. I glanced back briefly at the magus and was delighted to see his mouth open in astonishment. "Gen," he said under his breath, "you viper." Above the queen's extended palm I held Hamiathes's Gift. It had hung hidden in my hair since I'd braided it there after first fighting in the Sea of Olives."

""Gen-" Sophos started to ask another question, but I interrupted him. "No," I said, "not Gen. Eugenides from now on. I never, never, want to hear Gen again in my life." The magus laughed while I shook my head. "You haven't spent any time in the king's prison," I said. "And you haven't had to drink your way through every disreputable wineship in the city of Sounis. I cannot tell you how sick I have been of cheap wine and of being dirty. Of talking with my mouth half closed and chewing with it open. Of having bugs in my hair and being surrounded by people who think Archimedes was the man at the circus last year who could balance four olives on his nose." The magus looked around the books piled in my study. "I remember that Archimedes. I think it was five olives," he said with a straight face. "I don't care if it was twelve," I said."

"I don't know how he would have gotten out of the prison on his own," said the magus. "It seems a foolhardy plan to have relied on my intervention."

"I am a master of foolhardy plans, I thought. I have so much practice I consider them professional risks. Sooner or later they would have needed the cell and the chains for someone more important, the minister of the exchequer, for instance, and I would have been moved to another cell. Sooner or later I would have had my chance to escape, if I hadn't died of disease first."

"He couldn't have found the whereabouts of the stone from the papers in my study," the magus went on. "I was careful to destroy any records. But he could have followed us and stolen the Gift once it was located."

"The minister of war snorted. "Not if he had to follow you on a horse," he said."

"The queen laughed, and I flushed in the privacy of my bedroom. I do hate horses. That was the first sign that I wasn't going to be the soldier my father hoped for."

"The magus might have heard me thinking. "He does have other skills to be proud of," he said. For instance, I thought, stealing Hamiathes's Gift not once but twice. Who else in history had done that? But the magus referred to the fight with the Queen's Guard at the base of the mountain. That wasn't a skill I appreciated much. If I'd been as inept with a sword as I was in a saddle, my father might not have driven me so hard to be a soldier and to let the title of King's Thief lapse forever. It had been meaningless for so many generations, and he'd felt strongly that it should disappear for good."

"The magus described the fighting with the guard in detail and made me look very good indeed."

"The minister of war snorted. The magus didn't recognize this as high praise, and he said stiffly, "I've been told that his father wanted him to be a soldier. I'd be happy to inform his father that he has a son to be proud of.""

"I stifled a snort of my own in the silence that followed. The magus must have still been tired. He must have once known, but forgotten, that the minister of war had married the daughter of the previous King's Thief. He was talking to my father. The magus might have remembered this, might have recognized me from the first time he'd seen me in Sounis, but we had never been introduced. When he'd come with Sounis's marriage proposals, I had been sulking in my rooms."

"While the magus, realizing his error, was trying to word an apology, my father came to look in at me. "I thought I heard you laughing up your sleeve," he said."

"If you want to keep something safe from thieves, hide it carefully and keep a close watch over it."

"Be cautious," said the other. "Do not offend the gods."

"The second night you repeated the same words over and over. I think the fever had set in by then. Do you remember what you said? "No." She knew every one of them. His voice, broken and stumbling, had filled her dreams until she had wept in her sleep, crying tears for him that she'd never been able to cry for her father or for herself. "Oxe Harbrea Sacrus Vax Dragga..." she began. Eugenides's chin lifted as he recognized the opening words. "It's the invocation of the Great Goddess at her spring festival," he said calmly, "calling her to the aid of those that need her. Those words are archaic."

"We invoke the Great Goddess in our hour of need for her wisdom and her mercy," Teleus said in the demotic. "Ere translates as love, a rather ruthless love, not mercy, Teleus. The Great Goddess of Eddis not known for her mercy."

"I'll be your minister--" "Of the exchequer? You'd rob me blind." "I would never steal from you," he'd said hotly. "Oh? Where is my tourmaline necklace? Where are my missing earrings?" "That necklace was hideous. It was the only way to keep you from wearing it." "My earrings?" "What earrings?"

"How could you come once a week to talk about the weather and not mention a war?" Eddis sighed. "Will you sit down and stop shouting?" "I'll stop shouting. I won't sit down. I might need to throw more inkpots."

"It matters, because I can't do anything more for this country, and it matters," he yelled as he threw the papers back to his desk, "because I only have one hand and it isn't even the right one!"

"I can't steal things without two hands," Eugenides said bitterly. "That's why she cut one off." The queen of Attolia was only ever "she." The name Attolia rarely passed his lips, as if Eugenides couldn't bear the taste of the word in his mouth. "There are a lot of things that a person with two hands couldn't steal," Eddis said. "So?" "Surely if it's impossible to steal them with two hands, it's no more impossible to steal them with one. Steal peace, Eugenides. Steal me some time."

""Eugenides," he said. He had recognized the voice. "Yes." "What have you done?" "Not much yet," answered the Thief from the darkness. "I remain fairly limited in my physical activities." He held up his right arm, and the magus started before realizing that the hand he saw had to be a wooden one, concealed by a glove. Another booming explosion filled the air, and the magus turned back to the window but could see only a glare reflecting on the whitewashed walls of the buildings below. "I had to send someone else to light the fuses," Eugenides said behind him. "Fuses?" asked the magus, with a sick feeling. "In the powder magazines of your warships," Eugenides explained. "Powder magazines?" "You sound like the chorus in a play," said Eugenides. "And the play is a tragedy, I suppose?" "A farce," Eugenides suggested, and the magus winced."

""You said I should do something." Eugenides smiled in the dark, twisting the knife of his revenge a little deeper into the magus. "I did?" "As you were leaving, after your extremely edifying visit in the spring. You said ‘You could still do something.’ Your exact words." "I meant talk your queen into surrendering, not destroy our navy in its own harbor!" the magus shouted."

""I didn't come to Sounis to blow up His Majesty's warships. I told you someone else had to do that." "What did you come for if not to murder my king?" "I came to steal his magus." "You can't," said the magus in question. "I can steal anything," Eugenides corrected him. "Even with one hand." He took a step forward into the moonlight and waggled his fingers. The smile on his face made the magus feel worse, not better."

"Think of it as stealing not you but the king's faith in you." "And what happens to me without the king's faith?" "If you're smart, you leave Sounis," said Eugenides. "Quickly."

"The moon disappeared behind a cloud. Eugenides was only a dark form against the darker water behind him. "Before you make a decision," he said, "I want you to know that I love you.""

"He could tell her he loved her. He ached to shout it out loud for the gods and everyone to hear. Little good it would do. Better to trust in the moon's promises than in the word of the Thief of Eddis. He was famous in three countries for his lies."

"The Thief leaned close to the queen to speak almost in her ear. "From shadow queen to puppet queen in one rule," he whispered. "That's very impressive. When he rules your country, and tells you he loves you, I hope you believe him." He anticipated her blow and leaned back. Her hand only brushed his cheek in an entirely unsatisfying manner. "At least that's one lie I didn't tell you," Eugenides said."

"And now we wait," she said, not bothering to hide her smile of delighted anticipation as her guards conveyed the messenger out of the door. "Wait for what?" the Mede asked. "Hmm?" Attolia focused herself on the present. "Good heavens, I don't know," she said. "Eddis produces such lovely threats when her Thief is concerned."

"Nahuseresh, if there is one thing a woman understands, it is the nature of gifts. They are bribes when threats do not avail." The queen shook her head. "The problem with bribes, Nahuseresh, is that after your money is gone, threats still do not avail."

"They are mice, Nahuseresh, hiding in their mouseholes, hoping their own familiar cat will come home to drive you away. At least when I hang people from castle walls, it is because they are traitors, not because they drive hard bargains. You seem willing to hang anyone who is displeasing to you. How kind of you to show my barons that if I am a hard ruler to cross, you are a worse one to serve. I must thank you for that as well as your emperor's gold. They will be most mousy and well behaved for months."

""Treachery," said the Mede. "Diplomacy," said Attolia, "in my own name," as the rest of her guard rose up from the grass behind their captain."

"You don't understand your weakness, if you think the greater nations will protect you. We will see how much longer you rule your backwater, Your Majesty. You will soon enough discover the limits of your resources." "Will I? I think you underestimate me still, Nahuseresh. While we are being forthright with each other, I admit I find it tedious."

"Eddis looked at her minister, curious. "Your head?" she asked. Attolia explained. "He had to be forcibly dissuaded from strangling his son." "So have we all from time to time," Eddis said seriously."

"He looks--" Attolia hunted for the word. "Defenseless" came to mind, but it wasn't the one she wanted, nor was "young," though he looked even younger when he was asleep. "Quite guileless," she said at last. "Oh, yes," said Eddis. "I'm always willing to forgive him anything - until he wakes up."

"If it is an affliction, it is as you said: The gods know me so well they can predict my behavior. They don't control it. They could know I would love her, but they don't make me. I've watched her for years, you know. All those times when you didn't know where I went, mostly it was to Attolia."

"...She's like a prisoner inside stone walls, and every day the walls get a little thicker, the doorways a little narrower." "And?" Eddis prompted. "Well," said Eugenides, "it's a challenge."

"Least said, soonest mended isn't the advice for every occasion, Your Majesty, isn't the advice for every occasion."

"He lies to you?" Attolia asked. "Constantly," said Eddis. "He lies to himself. If Eugenides talked in his sleep, he'd lie then, too." Attolia looked stunned. "And you can't tell?" Eddis thought for a moment. "I sometimes believe his lies are truth, but I have never mistaken his truth for a lie. If he needs me to believe him, he has his own way of showing his veracity."

"You must choose now. Between the two of us we can reach a treaty without a wedding. You don't have to marry him, but if you choose to marry him, you have to believe him." Attolia turned, and Eddis thought that behind her mask the queen might be afraid, and so she finished lightly. "You have to believe him, because he's going to have you entire palace up in arms and your court in chaos and every member of it from the barons to the boot cleaners coming to you for his blood, and you are going to have to deal with it." Attolia smiled. "You make him sound like more trouble than he's worth." "No," said Eddis thoughtfully. "Never more than he is worth."

"Nothing mortals make lasts; nothing the gods make endures forever."

"Unable to guess the answer, she asked, "Who am I, that you should love me?" "You are My Queen," said Eugenides. She sat perfectly still, looking at him without moving as his words dropped like water into dry earth. "Do you believe me?" he asked. "Yes," she answered. "Do you love me?" "Yes." "I love you." And she believed him."

"The queen turned back to face him. "I could hang you," she said. Eugenides looked up at her. "You missed your chance for that," he said."

"Your Majesty," he asked innocently, "is it true that your cousins once held you down in a water cache?" Ornon, in the act of putting down his wine cup, paused. "Is it also true that they wouldn't let you out until you agreed to repeat insults about your own family?"

"The dandified Attolian who had spoke, a patron, but not a baron by any means, glanced at the queen to see if she approved, but she was looking the other way. The king shrugged his shoulders slightly and said, "I could send you to ask them." The man laughed. "It would be a long trip, Your Majesty. I would so much rather hear the answer from you." "Oh, the trip would be much quicker than you think," said the king pleasantly. "Most of my male cousins are dead." The silence that had begun at the head table had spread to the edges of the hall. The Attolian's smile grew uncertain. The king didn't smile back. Those who understood shifted uncomfortably in their seats."

""The court is watching," she pointed out. "I thought you wanted me more exposed to the public eye?" he teased. "I reverse myself," she said coldly, "and argue for a little circumspection." She tugged at his hand, but he didn't release her. She gave up, unwilling to be seen trying to pull away. "You don't think I can do it." She didn't think he could. "I don't care what they think." She knew that. It worried her. "No," said the queen, but she wavered. He sensed it and smiled. "Am I king?" he asked, irrepressibly. It was the one argument she was in no position to deny. She wanted him to be king, and he was resisting it with all his will."

"Why were these the only dances you knew?" "Because no one would dance with me. Thieves are never popular." I know why, thought Attolia, but aloud she asked, "Why are you familiar with the square dances?" The music quickened. "My mother taught me. We danced them on the rooftops of the Megaron. According to legend, the Thief and any partner the Thief chooses will be safe." "You are king now," she pointed out. "Ah, but they say that if the king dances, the entire court can safely dance with him." "Spare me," said Attolia, "and my court, from dancing on the roof." "It probably only works in Eddis."

"As Attolia spun, she felt a tug at her hair and, turning back, felt another. Then she felt her carefully arranged hair slipping down her neck. Eugenides, minding the pattern with his feet and spinning the queen with one hand, had been pulling out her hairpins one by one when her back was turned. The rest of the pins loosened, and her hair dropped free. It swung out as she spun and the last of the pins bounced and slid across the marble floor. The queen was several inches taller than Eugenides, and he leaned back to counter her spin. To those watching, it didn't seem possible that he could succeed, but with one hand, and no visible effort, he defied the laws of the natural world. Phresine, the queen's senior attendant, watched them from behind the throne as her queen danced like a flame in the wind, and the mercurial king like the weight at the center of the earth. Faster and faster they moved, never faltering, until the music shrilled at an impossible tempo and the pattern gave way to a long spin, each dancer reaching in with one hand and out with the other, holding tight lest they fall away from the other, until the music stopped abruptly and the dance ended."

"The king paused. "Your master of spies is a liar, and this time he is lying," the king said slowly, "to you." Attolia frowned, then almost imperceptibly shook her head. "Have him arrested," said the king. After another pause he added unequivocally, "Now." If he succeeds in having me killed, you could be the next Captain of the Guard. What, then, if the king destroyed Relius? Who would replace him? Costis hardly breathed. The king hadn't ordered the arrest himself, though he could have, but he had directed the queen to do so, in public. Now they would see if the queen could protect her own or not."

"For a moment Costis could see, not so much what was hidden but that there were things hidden that the king did not choose to reveal. Things that were not for Costis to see. There was no understanding him, but Costis knew he would march into hell for this fathomless king, as he would for his queen. So long, he worried, as they didn't order him in opposite directions at the same time. What he would do when that happened, Costis couldn't guess."

"The king lifted a hand to her cheek and kissed her. It was not a kiss between strangers, not even a kiss between a bride and groom. It was a kiss between a man and his wife, and when it was over, the king closed his eyes and rested his forehead against the hollow of the queen's shoulder, like a man seeking respite, like a man reaching home at the end of the day."

""Yet you prefer his mercy to my justice." She meant from the king. She knew where the message had come from."

"As the queen raged at him, he responded, first calmly, then with his own heat. "Is there no one that you will see punished?" the queen shouted. "Are you fond of Teleus now that you preserve his life at all costs?" "I only asked you to reconsider." "There is nothing to reconsider!" "You know why I need him." "Not anymore," the queen declared with finality. The king ignored the finality. "Now more than ever," he insisted. "He has failed-" "That was not entirely his fault!" "Then you will unmake my decisions?" Attolia dared him to try. "You said that I could," Eugenides flatly replied. Pushed too far, the queen lashed out. The king made no effort to avoid the blow. His head snapped around and his forehead struck the doorjamb. He staggered and caught himself. By the time he opened his eyes, she was at the door and then she was gone."

""Who knows but that you will get up to find that the world has inverted itself yet again?" He looked around the room at the other attendants as if in warning, but spoke to Philologos. "Remember, the love of kings and queens is beyond the compass of us lesser mortals." If anyone noticed, no one commented that he had called the Thief of Eddis a king."

"He looked up from the where he had been carefully smoothing the embroidered cover, and seeing his face, Costis felt the shock like a physical blow. If Attolia could look like a queen, Eugenides was like a god revealed, transformed into something wholly unfamiliar, surrounded by the cloth-of-gold bedcover like a deity on an altar, passionless and calculating."

"He had seen a temple fall once, in an earthquake. Small gaps had appeared between the stones, and these had grown until each separate stone tottered in opposition to the ones below. First the columns supporting the porches and then the walls had tumbled down. So, piece by piece, did the king hammer out the enormity of the disaster Sejanus had precipitated on his house."

"I wouldn't destroy an entire house to destroy one man. But I would destroy a man to destroy a house."

"The king, the master of the fates of men, before their eyes was reduced to a man, very young himself, and in love."

"A story?" Phresine was surprised. "What makes you think I can tell stories?" "Insight," said the king. "Go on."

"He didn't marry you to become king. He became king because he wanted to marry you."

"Grown more confident of the queen's humor, Relius said, "I had not pictured you for a fishwife." "Lo, the transforming power of love.""

"Will you serve me and my god?" "I will, Your Majesty." "Then come out," said the king, helping him, "knowing that you'll never die of a fall unless the god himself drops you."

"I think he was delighted to see you safe," said the magus, "and grieved that the next time you meet, it must be as king and king and not as friends."

"He was confident, I think, of the success over both Eddis and Attolia right up until the world heard that the Thief of Eddis had stolen the queen of Attolia and meant to marry her."

"I'd suggested eating it before we left the market. I'd also suggested eating it on the road. I was not so comfortable with my new authority that I could say, "We eat the chicken now!" but the magus had seen that I was considering it."

"Everything, it seemed, depended on gold. The magus and I had fallen easily back into our old habits. He lectured constantly, and I asked questions to my heart's delight. Where he had once been my master and I his apprentice, I had become king and he my sole advisor. Where we had once focused on natural history and philosophy, we now concentrated on administration, taxation, and the prosecution of war. He had begun his lessons by quoting the duke of Melfi: "To make war you need three things: one, money; two, money; and three, money." He went on to tell me the things I should have known already, that I would have known if I had been a more promising heir to the throne and not exclusively interested in poetry."

"You eat more than Gen did after prison", he said. "I have more sympathy with him all the time. Are you going to finish that drumstick?" I asked. "I am. Stop staring at it."

"The magus and I had talked for many long hours about this marriage of Eugenides and the queen of Attolia. The magus insisted it was Eugenides's choice and his desire as well, but it was impossible to know whose influence would prevail and if Gen would grow more like his wife, or his wife like her king."

"Then, as you well know, Eugenides looked me in the eye as if I were a complete stranger and said, "The simplest way to end a war is to admit you have lost it." The silence after that was not polite."

"Would I be wrong," Sounis asked one evening as he walked with Eddis, "to think that I talk to you, you talk to Gen, and Gen talks to Attolia, who talks to the magus, who talks to me?" Eddis laughed. "Not always. Sometimes, as in this case, someone approaches my Eddisian ambassador Ornon, here in Attolia, and he talks to me, I talk to you, you talk to Attolia, Attolia talks to Gen, and he talks to me." "I see you appear in that progression twice." "Oh, more than that, because after Gen talks to me, the process reverses. He goes back to Attolia, who talks to you, who go to the magus, who repeats the information to me, who gives it to Ornon, who takes it back to whoever started this particular political ball rolling in the first place."

"Eddis nodded. "Gen leaves the reins in Attolia's hands. Which is not what either I or Attolia recommended, but wisely he ignored us both." "Wisely?" Smiling, Eddis said, "He hasn't the temperament. He gets angry. She only ever gets angry at him." Sounis, having seen the Thief of Eddis lose his temper, could see her point."

""Sophos, you sleep with a knife under your pillow? I'm hurt." "I'm sorry," said Sounis, blinking, afraid that he had made contact with his wild swing. "I was joking. Wake up the rest of the way, would you?" "Gen, it's the middle of the night." "I know," said the king of Attolia."

"Don't you trust my palace security?" "Yes, of course," Sounis said, trying to think of some other reason besides mistrust to sleep with a knife. He heard Eugenides laugh. "My queen and I sleep with a matched set under our pillows, as well as handguns in pockets on the bedposts. Don't be embarrassed." :"Gen, what are you doing in my bedroom in the middle of the night?" Sounis asked. "Going out of my mind," said Eugenides promptly. "At least I am on the verge of going out of my mind."

"You bastard," said Sounis wearily. "I don't know why I don't stab you here in this alley so I can be the annux over Sounis and Attolia." They were twisting through the narrowest of passages, with Eugenides still in the lead, turning on what seemed to be a whim from one walkway to the next. "Well, the stabbing would be unkind," said Eugenides, "but you can have the annux part with my goodwill." "Not Attolia's." "True," said the king. "Better not stab me."

""I know exactly when. I was hiding in a takima bush in the Queen's Garden, watching the older son of the Baron Erondites tell Attolia that he loved her. He was trying to propose a marriage and she thought he was talking about a poem he was writing. I was laughing like a very quiet fiend, trying not to make the branches around me shake, and then, between one heartbeat and the next, and to my complete surprise, it wasn't funny anymore." He rubbed his chest, as if a remembered pain. "I wanted to kill him. Once she was gone, I very nearly jumped out of the bush onto his head. Poor Dite." Poor Eugenides, thought Sounis, to fall in love with a woman he had already made into an enemy."

""When you stop fussing," Gen had said, slipping to his knees beside her couch, "I will sleep with two knives under my pillow." Attolia had looked down at him and said sharply, "Don't be ridiculous." Only when Eugenides laughed had Sounis realized her implication: If she ever turned against Eugenides, a second knife wouldn't save him."

"I seem to remember once sharing my oatmeal with you," Sounis remarked. "I seem to remember stealing your oatmeal," said the former Thief of Eddis, "but it didn't have sand in it." "Sand?" said Sounis, taken aback. "Sand, and if my queen notices, she will have someone flayed."

"Inside the case was a dueling pistol, a king's weapon, wheel-locked, chased in gold. Eddis had seen it earlier that day. When Sounis lifted it out and tipped his head over the locking mechanism, she knew he was reading the letters inscribed there: Onea realia. "The queen made me.""

"You have heard the queen's advice. My gift is below. Would you wait to see it until you have decided what you will do with hers?"

"Do you warn him not to offend the gods?" "There was no need," said Attolis, smiling, "He couldn't offend the gods with a pointed stick."

"In the shocked aftermath, I said, "We'll give them a second chance." With my right hand, I reached to the other pocket. I had known as soon as I lifted the false bottom of the gun case and looked underneath what it meant. I had tried without ceasing to find some alternative to Attolia's ruthless advice, and I had failed. Gen's fit reassured me that I had not failed for lack of trying. He had seen no other solution himself. I lifted out the matching gun and read the archaic inscription. Realisa onum. Not "The queen made me," but "I make the king.""

"Staring at me over the barrel of my gun, Akretenesh said, "Did you not just days ago lecture me about the sacred truce?" With my finger still through the trigger guard of the spent pistol, I lifted my left palm upward to the sky to see if lightning struck me down. When none did, I smiled again. "We will have to assume the gods are on my side." "I am an ambassador," Akretenesh warned me, anger bringing his confidence back. "You cannot shoot." "I don't mean to," I reassured him, still smiling. I adopted his soothing tones. "Indeed, you are the only man I won't shoot. But if I aimed at anyone else, it might give others a dangerously mistaken sense of their own safety." I raised my voice a trifle, thought it wasn't really necessary. "We will have another vote, Xorcheus." They elected me Sounis. It was unanimous."

""Ten thousand!" I shouted at the walls, back in the room with the wooden shutters, now open so that anyone could hear me, on the porch or probably across the compound. "That arrogant bastard landed ten thousand men at Tas-Elisa. In my port! Mine!" When I was a child and playmates snatched my toys out of my hands, I tended to smile weakly and give in. Years later I was acting the way I should have as a child. Probably not the most mature behavior for a king, but I was still cursing as I swung around to find a delegation of barons in the doorway behind me. My father, Baron Comeneus, and the Baron Xorcheus among them. They thought it was how a king behaved."

"Eschewing ceremony, Eugenides said, "You shot their ambassador?" "You gave me the gun," protested Sounis. "I didn't mean for you to shoot an ambassador with it!" Eugenides told him. "Oh, how our carefully laid plans go astray," murmured the magus. "You shut up!" said Gen, laughing."

"In my experience, the more you know of the gods, the more you know what you cannot understand."

"If a man who claims to see the future is a fool, how much more so, the man who believes he can control it? We think we steer the ship of fate, but all of us are guided by unseen stars."

"But more overt sexual aggression may be the product of something few will acknowledge, at least on the record: Resentment. Off the record, in dozens of interviews over a period of years, male soldiers and officers have confided that many men resent women because they've been forced to pretend that women are equals, and men know they're not."

"We love to boast that we are a nation of immigrants — and we are. But there's a different sense of America among those who trace their bloodlines back through generations of sacrifice."

"Reality, after all, is what civilization attempts to mitigate."

"I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene."

"I'll get an inspiration and start painting; then I'll forget everything, everything except how things used to be and how to paint it so people will know how we used to live."

"Painting's not important. The important thing is keeping busy."

"I paint from the top down. From the sky, then the mountains, then the hills, then the houses, then the cattle, and then the people."

"A primitive artist is an amateur whose work sells."

"If I hadn't started painting, I would have raised chickens."

"I have written my life in small sketches, a little today, a little yesterday, as I have thought of it, as I remember all the things from childhood on through the years, good ones, and unpleasant ones, that is how they come out and that is how we have to take them. I look back on my life like a good day's work, it was done and I am satisfied with it. I was happy and contented, I knew nothing better and made the best out of what life offered. And life is what we make it, always has been, always will be."

"The death of Grandma Moses removed a beloved figure from American life. The directness and vividness of her paintings restored a primitive freshness to our perception of the American scene. Both her work and her life helped our nation renew its pioneer heritage and recall its roots in the countryside and on the frontier. All Americans mourn her loss."

"There emanates from her paintings a light-hearted optimism; the world she shows us is beautiful and it is good. You feel at home in all these pictures, and you know their meaning. The unrest and the neurotic insecurity of the present day make us inclined to enjoy the simple and affirmative outlook of Grandma Moses."

"In person, Grandma Moses charmed wherever she went. A tiny, lively woman with mischievous gray eyes and a quick wit, she could be sharp-tongued with a sycophant and stern with an errant grandchild."

"You can knock me down, but you better have a big rock to put me there...It's been tough, but that's alright. I am the oldest of ten kids and I am a survivor. I love this business so much, that there's no way I could think of retiring. When I'm 87, I'll still be walking on the Grand Ole Opry and singing "Here comes more tears to cry...". I still don't feel that I have the biggest record yet, or sang it the best. I think the best is yet to come, and that's the truth!"

"I know how to make money and I'll make it."

"Dottie West (born Dorothy Marie Marsh; October 11, 1932 – September 4, 1991) was an American country music singer and songwriter. Along with her friends and fellow recording artists Patsy Cline and Loretta Lynn, she is considered one of the genre's most influential and groundbreaking female artists."

"Only a fool would refuse to enter a fool's paradise — when that's the only paradise he'll ever have a chance to enter."

"In their sympathies, children feel nearer animals than adults. They frolic with animals, caress them, share with them feelings neither has words for. Have they ever stroked any adult with the love they bestow on a cat? Hugged any grownup with the ecstasy they feel when clasping a puppy?"

"In my time and neighborhood (and in my soul) there was only one standard by which a woman measured success: did some man want her?"

"We can love an honest rogue, but what is more offensive than a false saint?"

"I never meet anyone nowadays who admits to having had a happy childhood. Everyone appears to think happiness betokens a lack of sensitivity."

"O power of Love, O wondrous mystery! How is my dark illumined by thy light, That maketh morning of my gloomy night, Setting my soul from Sorrow's bondage free With swift-sent revelation! Yea, I see Beyond the limitation of my sight And senses, comprehending now, aright, Today's proportion to eternity. Through thee, my faith in God is made me sure, My searching eyes have pierced the misty veil; The pain and anguish which stern Sorrow brings Through thee become more easy to endure. Love-strong I mount, and heaven's high summit scale; Through thee, my soul has spread her folded wings."

"There’s nothing that I would call ordinary audition about this at all. It doesn’t really.. It’s a curious thing that will be very difficult to explain. Somebody asked me, “Was it as though your hand was moving?” No. I wrote perfectly voluntarily in response to…I call it a voice, but “a voice” has sounds...or sounds as though it has something to do with hearing. And I didn’t hear anything. I think it’s the sort of hearing that you can’t really describe. It doesn’t have anything to do with ears, or waves hitting a drum or anything on that order. I don’t really know, I think maybe I’m using the wrong word when I say “hear.” I sort of recognized it, it was very rapid, I could even....if I didn’t catch a phrase, I could sort of say, “Would you mind doing that again?”"

"I am a very careless person in some ways, I lose everything. But I never lost anything of this Course. People would would stop me in the subway and say, “Miss, you forgot your something or other, and hand it back to me.” Taxis would honk their horns, you know and say, “You left something in the back seat.” My secretary would say, “Are you sure this belongs in this case report, it doesn't sound right?” It was impossible to lose this Course, and I tried. But it...followed me around in an odd kind of way. People would send it back to me, anything. And I always got it back. We never lost anything, which is incredible."

""I saw myself entering a cave in a rock formation on a bleak, windswept seacoast. The entrance to the cave was low, and the cave was quite deep. All I found in it was a very old and large parchment scroll. Its ends were rolled around heavy, gold-tipped poles, the two sides touching at the scroll's center and tied together by a strip of parchment that fell away as my fingers touched it. I untied the ends and opened the scroll just enough to expose the center panel, on which only two words were written; 'God is', and nothing else. …"As with the subway experience several years earlier, an aspect of the cave experience likewise found its way into the Course. The workbook states: "We say 'God is', and then we cease to speak, for in that knowledge words are meaningless" (W-pi. 169.5:4)."

"The course does not aim at teaching the meaning of love, for that is beyond what can be taught. It does aim, however, at removing the blocks to the awareness of love’s Presence, Which is your natural inheritance. The opposite of love is fear, but what is all encompassing can have no opposite."

"The purpose of time is to enable you to learn how to use time constructively. It is thus a teaching device and a means to an end. Time will cease when it is no longer useful in facilitating learning."

"Your task is not to seek for love, but merely to seek and find all the barriers within yourself that you have built against it."

"The Autumn seems to cry for thee, Best lover of the Autumn-days!"

"The tasks are done and the tears are shed. Yesterday’s errors let yesterday cover; Yesterday’s wounds, which smarted and bled, Are healed with the healing that night has shed."

"These are weighty secrets, and we must whisper them."

"Men die but sorrow never dies."

"She stood amid the morning dew, And sang her earliest measure sweet, Sang as the lark sings,speeding fair, to touch and taste the purer air"

"The game of life is the game of boomerangs. Our thoughts, deeds and words return to us sooner or later, with astounding accuracy."

"Every great work, every big accomplishment, has been brought into manifestation through holding to the vision, and often just before the big achievement, comes apparent failure and discouragement."

"If one asks for success and prepares for failure, he will get the situation he has prepared for."

"Intuition is a spiritual faculty and does not explain, but simply points the way."

"In the year of Christ 1183, the House of Plantagenet was at war against itself."

"John: If disliking Richard be grounds for accusing a man of conspiracy, I daresay you could implicate half of Christendom in this so-called plot. Richard endears himself easiest to those who've yet to meet him."

"Servant: My lord! My lord, the Queen has just ridden into the bailey! John: That cannot be! My mother is in Normandy. Servant: No, my lord, she's in the great hall. Eleanor: You both are wrong. I'm out in the stairwell."

"Eleanor: I'm tired, John, am asking you to keep this charade mercifully brief... for my sake if not for your own. John: For your sake? There was a time when I'd have done anything on God's Earth for you, just to get to acknowledge I was even alive! But now? You're too late, Mother, years too late!"

"Eleanor: It is a pretty fiction that mothers love each child in equal measure... a fiction, no more than that. There is always a favorite. With me, it was Richard. With Henry, it was you. John: No. I was not his favorite. It was rather that I was the only son he had left. Have you forgotten? My brothers sided with you.'"

"Joanna (Queen of Sicily): Richard's arrival at Messina was a godsend, in truth, and I will ever be grateful to him. Yet I do not doubt you'd have done as much for me too, Johnny. So would our brother Henry. Even Geoffrey, provided it did not inconvenience him unduly. Any one of you would have come to my aid, I know that. and yet none of you would ever have come to the aid of each other."

"Joanna (Lady of Wales): Mama... why do I not look like you? Why do I have hair black like a crow? Clemence: Because you take after him. That was all I asked of God, that I need not see him each time I looked into your face. Little enough to ask, I should think. But we do pay and pay for our sins, it seems, and you grow more like him with each day that passes."

"You're proving to be a merciless ghost, Papa. I should have expected it, knowing you as I do, Joanna said. Her tears were coming faster now. "What do you mean to do, Papa? Shall you haunt me for the rest of my days?" Her voice broke; kneeling on the icy tiles before John's coffin, she wept bitterly."

"[On Senator Jesse Helms] I think he ought to be worried about what's going on in the Good Lord's mind, because if there is retributive justice, he'll get AIDS from a transfusion, or one of his grandchildren will."

"[On General William Boykin] I hope he's not long for this world."

"I saw and approached the hungry and desperate mother, as if drawn by a magnet. I do not remember how I explained my presence or my camera to her, but I do remember she asked me no questions. I made five exposures, working closer and closer from the same direction. I did not ask her name or her history. She told me her age, that she was thirty-two. She said that they had been living on frozen vegetables from the surrounding fields, and birds that the children killed. She had just sold the tires from her car to buy food. There she sat in that lean-to tent with her children huddled around her, and seemed to know that my pictures might help her, and so she helped me. There was a sort of equality about it."

"You put your camera around your neck in the morning, along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera."

"One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it."

"We live not only inside a body but within a story as well, and our story resides in the land as sure as the vision of Dorothea Lange's desperate, running horse."

"When first thy pencil did these beaties give And breathing figures learnt from thee to live"

"Creation smiles in various beauty gay While day to night, and night succeeds day"

"Some view our sable race with scornful eye, "Their colour is a diabolic die." Remember, Christians, Negroes, black as Cain, May be refin'd, and join th' angelic train."

"But how is Mneme dreaded by the race, Who scorn her warnings and despise her grace? By her unveil'd each horrid crime appears, Her awful hand a cup of wormwood bears. Days, years mispent, O what a hell of woe! Hers the worst tortures that our souls can know."

"No more, America, in mournful strain Of wrongs, and grievance unredress'd complain, No longer shalt thou dread the iron chain, Which wanton Tyranny with lawless hand Had made, and with it meant t' enslave the land. Should you, my lord, while you peruse my song, Wonder from whence my love of Freedom sprung, Whence flow these wishes for the common good, By feeling hearts alone best understood, I, young in life, by seeming cruel fate Was snatch'd from Afric's fancy'd happy seat: What pangs excruciating must molest, What sorrows labour in my parent's breast? Steel'd was that soul and by no misery mov'd That from a father seiz'd his babe belov'd: Such, such my case. And can I then but pray Others may never feel tyrannic sway?"

"But, Madam, let your grief be laid aside, And let the fountain of your tears be dry'd, In vain they flow to wet the dusty plain, Your sighs are wafted to the skies in vain, Your pains they witness, but they can no more, While Death reigns tyrant o'er this mortal shore."

"Celestial choir! enthron'd in realms of light, Columbia's scenes of glorious toils I write. While freedom's cause her anxious breast alarms, She flashes dreadful in refulgent arms."

"See mother earth her offspring's fate bemoan, And nations gaze at scenes before unknown! See the bright beams of heaven's revolving light Involved in sorrows and the veil of night! The goddess comes, she moves divinely fair,"

"Olive and laurel binds her golden hair: Wherever shines this native of the skies, Unnumber'd charms and recent graces rise. Muse! bow propitious while my pen relates How pour her armies through a thousand gates,"

"As when Eolus heaven's fair face deforms, Enwrapp'd in tempest and a night of storms; Astonish'd ocean feels the wild uproar, The refluent surges beat the sounding shore; Or thick as leaves in Autumn's golden reign,"

"Such, and so many, moves the warrior's train. In bright array they seek the work of war, Where high unfurl'd the ensign waves in air. Shall I to Washington their praise recite? Enough thou know'st them in the fields of fight."

"Thee, first in peace and honor - we demand The grace and glory of thy martial band. Fam'd for thy valor, for thy virtues more, Hear every tongue thy guardian aid implore! One century scarce perform'd its destined round,"

"When Gallic powers Columbia's fury found; And so may you, whoever dares disgrace The land of freedom's heaven-defended race! Fix'd are the eyes of nations on the scales, For in their hopes Columbia's arm prevails."

"Anon Britannia droops the pensive head, While round increase the rising hills of dead. Ah! cruel blindness to Columbia's state! Lament thy thirst of boundless power too late. Proceed, great chief, with virtue on thy side,"

"Thy ev'ry action let the goddess guide. A crown, a mansion, and a throne that shine, With gold unfading, ! be thine."

"Your favour of the 26th of October did not reach my hands 'till the middle of December. Time enough, you will say, to have given an answer ere this. Granted. But a variety of important occurrences, continually interposing to distract the mind and withdraw the attention, I hope will apologize for the delay, and plead my excuse for the seeming, but not real neglect. I thank you most sincerely for your polite notice of me in the elegant lines you inclosed; and, however undeserving I may be of such encomium and panegyric, the style and manner exhibit a striking proof of your poetical talents; in honor of which, and as a tribute justly due to you, I would have published the poem had I not been apprehensive that, while I only meant to give the world this new instance of your genius, I might have incurred the imputation of vanity. This, and nothing else, determined me not to give it place in the public prints. If you should ever come to Cambridge, or near headquarters. I shall be happy to see a person so favored by the muses, and to whom Nature has been so liberal and beneficent in her dispensations. I am, with great Respect, etc."

"Phyllis's poems do credit to nature—and put art—merely as art—to the blush.—It reflects nothing either to the glory or generosity of her master—if she is still his slave—except he glories in the low vanity of having in his wanton power a mind animated by Heaven—a genius superior to himself—the list of splendid—titled—learned names, in confirmation of her being the real authoress.—alas! shews how very poor the acquisition of wealth and knowledge are—without generosity—feeling—and humanity.—These good great folks—all know—and perhaps admired—nay, praised Genius in bondage."

"A PHILLIS rises, and the world no more Denies the sacred right to mental pow’r; While, Heav’n-inspir’d, she proves her Country’s claim To Freedom, and her own to deathless Fame."

"Unfavorable as were these conditions in the latter part of 1761, just before the birth of American freedom, arose our first contribution to literature. So strange were the conditions under which this race flower throve, we were not surprised at the doubt of her contemporaries as to whether she wrote the poems credited to her."

"A great deal of this new freedom rests upon the type of education which the Negro woman will receive. Early emancipation did not concern itself with giving advantages to Negro girls. The domestic realm was her field and no one sought to remove her. Even here, she was not given special training for her tasks. Only those with extraordinary talents were able to break the shackles of bondage. Phyllis Wheatley is to be remembered as an outstanding example of this ability — for through her talents one was able to free herself from house hold cares that devolved upon Negro women and make a contribution in literary art which is never to be forgotten. The years still re-echo her words. “Remember, Christians, Negroes, black as Cain/May be refined, and join the Angelic train”"

"No more snickering," Alice Walker counseled, at "the stiff, struggling, ambivalent lines," of the first published African-American poet, Phillis Wheatley. This kidnapped and enslaved Black woman wrote in the only materials available to her, in the only language in which she could write, and in the only cadence she knew as song. Of Wheatley, Walker also wrote: "It is not so much what she sang, as that she kept alive... the notion of song."

"At the library I would go the shelves alphabetically. I was drawn to anyone with a female name, with a Latino or Spanish name. There were very, very few. But as a teenager I discovered African American poetry. Gwendolyn Brooks was the first. Then Phillis Wheatley. I really identified with this slave woman writing poetry to assert and affirm her humanity. Suddenly my eyes were open to history. There was a whole explosion of African-American women poets-Audre Lorde, Nikki Giovanni, June Jordan. I have a poem in my head that's going to take me years to write down. Its working title is "On Thanking Black Muses." I owe them, because poetry really changed my life, saved it."

"How many iambs to be a real human girl? Which turn of phrase evidences a righteous heart? If I know of Ovid may I keep my children?"

"When I read Jefferson's disparagement of Wheatley, it felt like he had been disparaging the entire lineage of Black poets who would follow her, myself included, and I saw a man who had not had a clear understanding of what love is. When Robert Hayden gave us the ballads to remember how captured Africans survived the Middle Passage and arrived on these shores, it was an act of love. When Gwendolyn Brooks wrote about the children on the South Side of Chicago playing with one another in neighborhoods left neglected by the city, it was an act of love. When Audre Lorde fractured this language and then built us a new one, giving us a fresh way to make sense of who we are in the world, it was an act of love. When Sonia Sanchez makes lightning of her tongue, moving from Southern colloquialisms to stanzas shaped by Swahili, traversing an ocean in one breath, it is an act of love. Jefferson's conceptions of love seem to have been so distorted by his own prejudices that he was unable to recognize the endless examples of love that pervaded plantations across the country: mothers who huddled over their children and took the lash so their little ones wouldn't have to; surrogate mothers, fathers, and grandparents who took in children and raised them as their own when their biological parents were disappeared in the middle of the night; the people who loved and married and committed to one another despite the omnipresent threat that they might be separated at any moment. What is love if not this?"

"I am a product of affirmative action. I am the perfect affirmative action baby. I am Puerto Rican, born and raised in the south Bronx. My test scores were not comparable to my colleagues at Princeton and Yale. Not so far off so that I wasn't able to succeed at those institutions."

"The saw is that if you're going into academia, you're going to teach, or as Judge Lucero just said, public interest law, all of the legal defense funds out there, they're looking for people with court of appeals experience, because it is -- court of appeals is where policy is made. And I know -- and I know this is on tape and I should never say that because we don't make law, I know. OK, I know. I'm not promoting it, and I'm not advocating it, I'm -- you know."

"I strive never to forget the real world consequences of my decisions on individuals, businesses and government."

"I don't believe we should bend the Constitution under any circumstance. It says what it says. We should do honor to it."

"No matter how liberal I am, I'm still outraged by crimes of violence. Regardless of whether I can sympathize with the causes that lead these individuals to do these crimes, the effects are outrageous."

"In such cases, one can feel powerless and wonder why the others were not persuaded by what one took to be so salient in the case. There is, on the other hand, a singularly satisfying feeling that one gets when one has arrived at a particularly penetrating analysis and is able to convince both of one's colleagues of its merit."

"I understand Justice Scalia's jurisprudence to begin with a proposition that we should all agree to — namely, that judges should try to interpret the law correctly, and without personal or political bias."

"I find the speech in this case patently offensive, hateful, and insulting. The Court should not, however, gloss over three decades of jurisprudence and the centrality of First Amendment freedoms in our lives because it is confronted with speech it does not like."

"Awareness that the Government may be watching chills associational and expressive freedoms. And the Government’s unrestrained power to assemble data that reveal private aspects of identity is susceptible to abuse."

"Until we get equality in education, we won’t have an equal society."

"Puerto Rico will not only survive this. It will bloom once again."

"Government doesn’t do, people do,” she said. “It’s people who make laws, it’s people who change laws. It’s people who make things happen. So my question is, what are you going to do to make the government more representative? It won’t change unless we change it."

"Look at another person and understand no matter how much you disagree with them… if you look, you will find good in them."

"First of all, a girl like you should always dream big. Second, never let anyone say that you can’t do it. And the minute they say that, you should do as I have done myself and say: "You are telling me I can’t do it? Well, I’ll show you I can." Third, you have to study, study and study. That’s the only way you can achieve what you want in life. Education is the key to the future. And fourth, you have to work very hard. In life no one will give you anything for free. You must earn every single thing in this life. It is by studying and working hard that you will become president of the United States."

"America has a deeply confused image of itself that is in perpetual tension. We are a nation that takes pride in our ethnic diversity, recognizing its importance in shaping our society and in adding richness to its existence. Yet, we simultaneously insist that we can and must function and live in a race and color-blind way that ignore these very differences that in other contexts we laud. That tension between "the melting pot and the salad bowl" – a recently popular metaphor used to described New York's diversity – is being hotly debated today in national discussions about affirmative action."

"In our private conversations, Judge Cedarbaum has pointed out to me that seminal decisions in race and sex discrimination cases have come from Supreme Courts composed exclusively of white males. I agree that this is significant but I also choose to emphasize that the people who argued those cases before the Supreme Court which changed the legal landscape ultimately were largely people of color and women."

"Justice O'Connor has often been cited as saying that a wise old man and wise old woman will reach the same conclusion in deciding cases. I am not so sure Justice O'Connor is the author of that line since Professor Resnik attributes that line to Supreme Court Justice Coyle. I am also not so sure that I agree with the statement. First, as Professor Martha Minnow has noted, there can never be a universal definition of wise. Second, I would hope that a wise Latina woman with the richness of her experiences would more often than not reach a better conclusion than a white male who hasn't lived that life."

"I am reminded each day that I render decisions that affect people concretely and that I owe them constant and complete vigilance in checking my assumptions, presumptions and perspectives and ensuring that to the extent that my limited abilities and capabilities permit me, that I reevaluate them and change as circumstances and cases before me requires. I can and do aspire to be greater than the sum total of my experiences but I accept my limitations. I willingly accept that we who judge must not deny the differences resulting from experience and heritage but attempt, as the Supreme Court suggests, continuously to judge when those opinions, sympathies and prejudices are appropriate. There is always a danger embedded in relative morality, but since judging is a series of choices that we must make, that I am forced to make, I hope that I can make them by informing myself on the questions I must not avoid asking and continuously pondering."

"Today’s decision to grant former Presidents criminal immunity reshapes the institution of the Presidency. It makes a mockery of the principle, foundational to our Constitution and system of Government, that no man is above the law. Relying on little more than its own misguided wisdom about the need for “bold and unhesitating action” by the President, ante, at 3, 13, the Court gives former President Trump all the immunity he asked for and more. Because our Constitution does not shield a former President from answering for criminal and treasonous acts, I dissent."

"The indictment paints a stark portrait of a President desperate to stay in power. In the weeks leading up to January 6, 2021, then-President Trump allegedly “spread lies that there had been outcome-determinative fraud in the election and that he had actually won,” despite being “notified repeatedly” by his closest advisers “that his claims were untrue." When dozens of courts swiftly rejected these claims, Trump allegedly “pushed officials in certain states to ignore the popular vote; disenfranchise millions of voters; dismiss legitimate electors; and ultimately, cause the ascertainment of and voting by illegitimate electors” in his favor. It is alleged that he went so far as to threaten one state election official with criminal prosecution if the official did not “‘find’ 11,780 votes” Trump needed to change the election result in that state. When state officials repeatedly declined to act outside their legal authority and alter their state election processes, Trump and his co-conspirators purportedly developed a plan to disrupt and displace the legitimate election certification process by organizing fraudulent slates of electors."

"The Court now confronts a question it has never had to answer in the Nation’s history: Whether a former President enjoys immunity from federal criminal prosecution. The majority thinks he should, and so it invents an atextual, ahistorical, and unjustifiable immunity that puts the President above the law. The majority makes three moves that, in effect, completely insulate Presidents from criminal liability. First, the majority creates absolute immunity for the President’s exercise of “core constitutional powers.” This holding is unnecessary on the facts of the indictment, and the majority’s attempt to apply it to the facts expands the concept of core powers beyond any recognizable bounds. In any event, it is quickly eclipsed by the second move, which is to create expansive immunity for all “official act[s].” Whether described as presumptive or absolute, under the majority’s rule, a President’s use of any official power for any purpose, even the most corrupt, is immune from prosecution. That is just as bad as it sounds, and it is baseless. Finally, the majority declares that evidence concerning acts for which the President is immune can play norole in any criminal prosecution against him. That holding, which will prevent the Government from using a President’s official acts to prove knowledge or intent in prosecuting private offenses, is nonsensical."

"Argument by argument, the majority invents immunity through brute force. Under scrutiny, its arguments crumble. To start, the majority’s broad “official acts” immunity is inconsistent with text, history, and established understandings of the President’s role. Moreover, it is deeply wrong, even on its own functionalist terms. Next, the majority’s “core” immunity is both unnecessary and misguided. Furthermore, the majority’s illogical evidentiary holding is unprecedented. Finally, this majority’s project will have disastrous consequences for the Presidency and for our democracy."

"No matter how you look at it, the majority’s official-acts immunity is utterly indefensible."

"It seems history matters to this Court only when it is convenient."

"In sum, the majority today endorses an expansive vision of Presidential immunity that was never recognized by the Founders, any sitting President, the Executive Branch, or even President Trump’s lawyers, until now. Settled understandings of the Constitution are of little use to the majority in this case, and so it ignores them."

"It is a far greater danger if the President feels empowered to violate federal criminal law, buoyed by the knowledge of future immunity. I am deeply troubled by the idea, inherent in the majority’s opinion, that our Nation loses something valuable when the President is forced to operate within the confines of federal criminal law."

"Looking beyond the fate of this particular prosecution, the long-term consequences of today’s decision are stark. The Court effectively creates a law-free zone around the President, upsetting the status quo that has existed since the Founding. This new official-acts immunity now “lies about like a loaded weapon” for any President that wishesto place his own interests, his own political survival, or his own financial gain, above the interests of the Nation. Korematsu v. United States, 323 U. S. 214, 246 (1944) (Jackson, J., dissenting). The President of the United States is the most powerful person in the country, and possibly the world. When he uses his official powers in any way, under the majority’s reasoning, he now will be insulated from criminal prosecution. Orders the Navy’s Seal Team 6 to assassinate a political rival? Immune. Organizes a military coup to hold onto power? Immune. Takes a bribe in exchange for a pardon? Immune. Immune, immune, immune. Let the President violate the law, let him exploit the trappings of his office for personal gain, let him use his official power for evil ends. Because if he knew that he may one day face liability for breaking the law, he might not be as bold and fearless as we would like him to be. That is the majority’s message today. Even if these nightmare scenarios never play out, and I pray they never do, the damage has been done. The relationship between the President and the people he serves has shifted irrevocably. In every use of official power, the President is now a king above the law."

"The majority’s single-minded fixation on the President’s need for boldness and dispatch ignores the countervailing need for accountability and restraint. The Framers were not so single-minded. In the Federalist Papers, after “endeavor[ing] to show” that the Executive designed by the Constitution “combines . . . all the requisites to energy,” Alexander Hamilton asked a separate, equally important question: “Does it also combine the requisites to safety, in a republican sense, a due dependence on the people, a due responsibility?” The Federalist No. 77, p. 507 (J. Harvard Library ed. 2009). The answer then was yes, based in part upon the President’s vulnerability to “prosecution in thecommon course of law.” Ibid. The answer after today is no. Never in the history of our Republic has a President had reason to believe that he would be immune from criminal prosecution if he used the trappings of his office to violate the criminal law. Moving forward, however, all former Presidents will be cloaked in such immunity. If the occupant of that office misuses official power for personal gain, the criminal law that the rest of us must abide will not provide a backstop. With fear for our democracy, I dissent."

"When Sonia Sotomayor was nominated, there was much talk of how her working-class Bronx background might inform her worldview today. But we seldom talk about wealth, whiteness or male privilege in the same way, as if they're cultures that shape people."

"in 2009, when Sonia Sotomayor was preparing for congressional hearings for her appointment to the Supreme Court, she was accused of being a racist for her involvement with "radical" organizations such as the Puerto Rican Legal Defense and Education Fund and the National Council of La Raza.' The fact that so many Latino elites were once members of these organizations speaks to the role these movements and organizations played in the creation of a significant sociopolitical class."

"Sotomayor was among the finalists I was considering, some in the legal priesthood suggested that her credentials were inferior to those of Kagan or Wood, and a number of left-leaning interest groups questioned whether she had the intellectual heft to go toe-to-toe with conservative ideologues like Justice Antonin Scalia. Maybe because of my own background in legal and academic circles-where I'd met my share of highly credentialed, high-IQ morons and had witnessed firsthand the tendency to move the goalposts when it came to promoting women and people of color-I was quick to dismiss such concerns. Not only were Judge Sotomayor's academic credentials outstanding, but I understood the kind of intelligence, grit, and adaptability required of someone of her background to get to where she was...Given my high regard for Kagan and Wood, I was still undecided when Judge Sotomayor came to the Oval Office for a get-to-know-you session. She had a broad, kind face and a ready smile. Her manner was formal and she chose her words carefully, though her years at Ivy League schools and on the federal bench hadn't sanded away the Bronx accent...the judge and I talked about her family, her work as a prosecutor, and her broad judicial philosophy. By the end of the interview, I was convinced that Sotomayor had what I was looking for, although I didn't say so on the spot."

"Justice Sotomayor knows a lot about spirit and strength. It is reflected in her life. I will never forget that day in May 2009 when President Obama announced his nomination of Sonia Sotomayor to the Supreme Court. It was a victory—not only for women, but for Puerto Ricans and for anyone and everyone who has ever lived in the projects, who ever had to struggle and endure poverty, discrimination, and disability."

"I’m grateful for her wisdom and compassion on the Supreme Court. In June, Justice Sotomayor invited my husband and me to have a private lunch with her in her chambers. This was right when the justices began deliberations over the major cases. We talked about our mothers’ fears, about publishing, translations, snorkeling, adopted kids and cultural self-identification — all sorts of things, except the cases. I’ve read the first 10 pages of her memoir and know already that it’s like a continuation of the conversation we had."

"If you were to appoint someone like Sonia Sotomayor, whose personal history and demographic appeal you don't need me to underscore, I am concerned that the impact within the Court would be negative in these respects. Bluntly put, she's not nearly as smart as she seems to think she is, and her reputation for being something of a bully could well make her liberal impulses backfire and simply add to the fire power of the Roberts/Alito/Scalio/Thomas wing of the Court."

"Science is competitive, aggressive, demanding. It is also imaginative, inspiring, uplifting."

"We have peered into a new world and have seen that it is more mysterious and more complex than we had imagined. Still more mysteries of the universe remain hidden. Their discovery awaits the adventurous scientists of the future. I like it this way."

"There is one alternative to dark matter, and that is the assumption that Newton's laws don't hold over distances as great as galaxies. But we know that Newton's laws hold over a very large domain. And virtually one hundred percent of the physics and astronomy community believes that there is matter in the universe that does not radiate."

"Science progresses best when observations force us to alter our preconceptions."

"It is well known that I am available twenty-four hours a day to women astronomers."

"How stars move tell us that most matter in the universe is dark. When we see stars in the sky, we're only seeing five or 10 percent of the matter that there is in the universe."

"I'm not a theologian, and I must say honestly that Vatican astronomers' views [on astronomy] are entirely in accord with ours. I'm not aware of any Church positions that contradict modern science. In my own life, my science and my religion are separate. I'm Jewish, and so religion to me is a kind of moral code and a kind of history. I try to do my science in a moral way, and, I believe that, ideally, science should be looked upon as something that helps us understand our role in the universe."

"I live and work with three basic assumptions, 1) There is no problem in science that can be solved by a man that cannot be solved by a woman. 2) Worldwide, half of all brains are in women. 3) We all need permission to do science, but, for reasons that are deeply ingrained in history, this permission is more often given to men than to women."

"Each one of you can change the world, for you are made of star stuff, and you are connected to the universe."

"Rubin, in collaboration with Kent Ford, became the key figure in extending rotation curves based on optical-wavelength studies to large galactic radii, where their prevalent flatness dovetailed neatly with results from radio-wavelength observations. Rubin’s life story is one of perseverance in the face of occupational and societal obstacles. ... Rubin’s story illustrates the resistance of the scientific community to altering an established paradigm—that light is the essential gauge of mass in the universe."

"To my mind, what Vera discovered is both more specific and more profound than the dark matter paradigm it helped to create. What she discovered observationally is that rotation curves are very nearly flat, and continue to be so to indefinitely large radius. Over and over again, for every galaxy in the sky. It is a law of nature for galaxies, akin to Kepler’s laws for planets. Dark matter is an inference, a subsidiary result. It is just one possible interpretation, a subset of amazing and seemingly unlikely possibilities opened up by her discovery."

"I think of the time that Vera and I were spending in cold telescope domes, the wind blowing, coyotes howling off on the mesa, we would have been happy to have a warm room to sit in, whether it was in Flagstaff or a lab back home."

"Stop pathetically believing that you deserve Fame or Fame deserves you. It's yucky, and it's only making you miserable, so stop."

"We're going to treat them [FOX News] the way we would treat an opponent. As they are undertaking a war against Barack Obama and the White House, we don't need to pretend that this is the way that legitimate news organizations behave."

"What I think is fair to say about Fox — and certainly it’s the way we view it — is that it really is more a wing of the Republican Party. They take their talking points, put them on the air; take their opposition research, put them on the air. And that’s fine. But let’s not pretend they’re a news network the way CNN is."

"The third lesson and tip actually comes from two of my favorite political philosophers - Mao Tse Tung and Mother Teresa, not often coupled with each other, but the two people that I turn to most to basically deliver a simple point, which is, you're going to make choices. You're going to challenge. You're going to say, "Why not?". You're going to figure out how to do things that have never been done before. But here's the deal: These are your choices, they are no one else's. In 1947, when Mao Zedong was being challenged within his own party on his plan to basically take China over. Chiang Kai-shek and the Nationalist Chinese held the cities, they had the army, they had the air force, they had everything on their side. And people said, "How can you win? How can you do this? How can you do this, against all of the odds against you?" And Mao Zedong said, you know, "You fight your war, and I'll fight mine." And think about that for a second. You don't have to accept the definition of how to do things and you don't have to follow other peoples choices and paths. Ok? It is about your choices and your path. You fight your own war, you lay out your own path, you figure out what's right for you. You don't let external definition define how good you are internally, you fight your war, you let them fight theirs. Everybody has their own path."

"The Mao quote is one I picked up from the late Republican strategist Lee Atwater from something I read in the late 1980s, so I hope I don't get my progressive friends mad at me. The use of the phrase 'favorite political philosophers' was intended as irony, but clearly the effort fell flat -- at least with a certain Fox commentator whose sense of irony may be missing."

"Encouraged, we recognise the importance of living artistically, aesthetically and creatively as creative creatures of the creator."

"That's the story that went around, But here's the real low-down: Put the blame on Mame, boys, Put the blame on Mame."

"You always break the kindest heart With a hasty word you can't recall, So if I broke your heart last night It's because I love you most of all."

"Amado mio When we're together I'm in a dream world Of sweet delight."

"In real life, as well as in experiments, people can come to believe things that never really happened."

"The results were clear: the new environment inhibited recognition."

"To be cautious, one should not take high confidence as any absolute guarantee of anything."

"The problem is clear: the unreliability of eyewitness identification evidence poses one of the most serious problems in the administration of criminal justice and civil litigation."

"Even if it's going to be a harmful memory, they don't want to let it go. (This is) why sometimes I get such resistance to the work I do. Because it's telling people that your mind might be full of much more fiction than you realize. And people don't like that."

"Which would you rather have? A kid with obesity, heart problems, shortened lifespan, diabetes -- or maybe a little bit of false memory?"

"Memory works like a Wikipedia page: You can go in there and change it, but so can other people."

"It is possible not to think about something for a long time, even something unpleasant that happened to you. But what's been claimed in these repressed-memory cases is something, by definition, that's too extreme to be explained by ordinary forgetting and remembering. They're saying that in order to go on in life, you had to wall off this memory, because it would be too painful to live with. Then finally you go into therapy and crack through the repression barrier and out comes this pristine memory. But there really is no credible scientific support for that notion."

"Therapists probably can't ethically do it, and they may have anti-deception provisions in their standards of conduct. But bad governments, bad people, they don't have requirements of conduct. When we recently published a study about planting false memories among U.S. soldiers, I was worried we were putting out a recipe for how you can do horrible things to somebody and then wipe their memory away."

"I collaborated on a brain imaging study in 2010, and the overwhelming conclusion we reached is that the neural patterns were very similar for true and false memories. We are a long way away from being able to look at somebody's brain activity and reliably classify an authentic memory versus one that arose through some other process."

"Jesus loves me—this I know, For the Bible tells me so"

"Then Jesus spoke: "Bring here thy burden, And find in me a full release; Bring all thy sorrows, all thy longings, And take instead my perfect peace. Trying to bear thy cross alone! — Child, the mistake is all thine own.""

"And now my cross is all supported, — Part on my Lord, and part on me; But as He is so much the stronger, He seems to bear it — I go free."

"If it hurt me to have to give up a painting I figured it had to hurt them to write the check. That's how I came up with the price for my work."

"I aim to remind the warrior within us all to navigate through the unknown that we may meet the morning, improved and unenslaved."

"My soul is a canvas stretched across four wooden corners and tacked with copper nails that sink into the edges of timber like teeth. My art is nothing less than my salvation."

"Being an artist means seeing things and never having the ability to shut your eyes."

"It's not who you know, but who you are that matters most."

"This dress is something I would want to be buried in! (On wanting to be buried in the painting she converted into a dress.)"

"Certain individuals continue to perpetuate negative stereotypes about Republicans. Especially Republican women. Who do I feel is the biggest culprit? Ann Coulter. I straight up don’t understand this woman or her popularity. I find her offensive, radical, insulting, and confusing all at the same time. But no matter how much you or I disagree with her, the cult that follows Coulter cannot be denied. She is a New York Times best-selling author and one of the most notable female members of the Republican Party. She was one of the headliners at the recent CPAC conference (but when your competition is a teenager who has a dream about the Republican Party and Stephen Baldwin, it’s not really saying that much). Coulter could be the poster woman for the most extreme side of the Republican Party. And in some ways I could be the poster woman for the opposite. I consider myself a progressive Republican, but here is what I don’t get about Coulter: Is she for real or not? Are some of her statements just gimmicks to gain publicity for her books or does she actually believe the things she says? Does she really believe all Jewish people should be “perfected” and become Christians? And what was she thinking when she said Hillary Clinton was more conservative than my father during the last election? If you truly have the GOP’s best interests at heart, how can you possibly justify telling an audience of millions that a Democrat would be a better leader than the Republican presidential candidate? (I asked Ann for comment on this column, including many of the above questions, but she did not answer my request.)"

"McCain has earned herself a remarkable bit of controversy in the relatively short period of time that she's emerged as a pundit, picking fights with the likes of Ann Coulter, Laura Ingraham, Rush Limbaugh, Karl Rove and...well, a huge chunk of the Republican Party."

"A silent tsunami which knows no borders is sweeping the world."

"If any good comes out of the current famine in the Horn of Africa — amidst the pictures of mothers carrying dying babies at their shrivelled breasts and hollow-eyed children with swollen bellies and matchstick limbs — it will be galvanising the world on the need to ensure access to nutritious food for the world’s most vulnerable people."

"With climate change and health crises rightfully receiving international attention, the time has come to focus on hunger as a top priority. WHO regards hunger and malnutrition as the gravest threat to public health, and climate change threatens to further destabilise already fragile food-production systems."

"I believe we're living at a time in human history where it's just simply unacceptable that children wake up and don't know where to find a cup of food. Not only that, transforming hunger is an opportunity, but I think we have to change our mindsets. I am so honored to be here with some of the world's top innovators and thinkers. And I would like you to join with all of humanity to draw a line in the sand and say, "No more. No more are we going to accept this." And we want to tell our grandchildren that there was a terrible time in history where up to a third of the children had brains and bodies that were stunted, but that exists no more."

"I am in the hunger business; it is what we do exclusively, 24/7, and I am sorry to tell you that business is booming."

"Josette Sheeran, executive director of the United Nations World Food Programme, stated that people who don't have food have three choices – "revolt, migrate or die". "We need a better plan," she said, pointing to the one in seven people who are food insecure. 70% of brain growth takes place before the age of two so deprivation of food in infants is long-lasting."

"(Carmine Crocco) From having once been a peaceful shepherd, [he] had become the terror of southern Italy. [...] The usual occupation of Crocco's band was robbery of the wealthy Italians of the vicinity, battles with the Italian troops, and the seizure and robbery of rich foreigners, for whose deliverance heavy ransoms were demanded. When a detachment of troops was sent against them, they showed considerable courage. As they knew the country well, with its hiding-places and points of vantage, it was not easy to capture them."

"How did it happen that the Reverend Charles Dodgson, thirty years of age, lecturer on geometry at Christ Church, Oxford, hitherto remarkable chiefly for his precision, on a single July afternoon, while rowing up the Isis with a brother don and three little girls, parthenogenetically gave birth to one of the most famous stories of all time?"

"Charles Dodgson, born a romantic and a rationalist, would have fitted more easily into the world of Voltaire and Goethe than into the one that received him."

"Whether the queen caused the period, or the period creates the queen, she fitted her time perfectly."

"The Dodgson family worshipped the God of Love, who showed his stern face only in the presence of evil."

"Dodgson of course was a meticulous traveler. He packed each article separately, well wrapped in paper to twice its bulk."

"She just took off running to the old Perkins place. He couldn't help turning to watch. She ran as though it was her nature. It reminded him of the flight of wild ducks in the autumn. So smooth. The word "beautiful" came to his mind, but he shook it away and hurried up to his house."

"He felt there in the teachers' room that it was the beginning of a new season in his life, and he chose deliberately to make it so. He did not have to make any announcement to Leslie that he had changed his mind about her. She already knew it."

"When Leslie spoke, the words rolled out so regally, you knew she was a proper queen. He could hardly manage English, much less the poetic language of a king."

"He was angry, too, because it would soon be Christmas and he had nothing to give Leslie. It was not that she would expect something expensive; it was that he needed to give her something as much as he needed to eat when he was hungry. [...] She wouldn't laugh at him no matter what he gave her. But for his own sake he had to give her something he could be proud of."

"Even a prince may be a fool"

""Why don't we change our clothes and watch TV or something over at your house?" He felt like hugging her. "I'll make us some coffee," he said joyfully. "Yuk," she said smiling and began to run for the old Perkins place, that beautiful, graceful run of hers that neither mud nor water could defeat."

"Lord, it would be better to be born without an arm than to go through life with no guts."

"If there was anything her short life had taught her, it was that a person must be tough. Otherwise, you were had."

"Trotter its all wrong. Nothing turned out the way it was supposed to." "How do you mean supposed to? Life ain't supposed to be nothing, 'cept maybe tough." [..] "If life is so bad, how come you're so happy?" "Did I say bad? I said it was tough. Nothing to make you happy like doing good on a tough job, now is there?"

"(Which childhood books and authors stick with you most?) Katherine Paterson’s books — which were almost traumatizing to me as a kid, but which I appreciate now for challenging me and my worldview."

"To paraphrase Thoreau, it was not sherry I drank nor I who drank sherry; it was the wine of the Hesperides and I was served it by the wind from the west."

"Wells surprised himself by handing her the book. "What's your name?" he asked. "So you know to whom you'll be eternally indebted?" "So I know who to blame when I'm arrested." The girl tucked the book under her arm and then extended her hand. "Clarke." "Wells," he said, reaching forward to shake it. He smiled, and this time it didn't hurt."

"You have been given an unprecedented chance to put the past behind you," the Chancellor was saying. "The mission on which you're about to embark is dangerous, but your bravery will be rewarded. If you succeed, your infractions will be forgiven, and you'll be able to start new lives on Earth."

"Bellamy worried about her constantly. The kid was special, and he'd do anything to give her a chance at a different life. Anything to make up for what she'd had to endure."

"She turned over her shoulder and caught his eye, shaking her head slightly, a clear warning not to do anything stupid. But Bellamy had been doing stupid things all his life, and he had no intention of stopping now."

""You just hatched out two weeks ago." Kludd turned to Soren, his younger brother. "What do you know about sisters?" Maybe, Soren thought to himself, they would be better than brothers."

"Once upon a very long time ago, in the time of Glaux, there was an order of knightly owls, from a kingdom called Ga'Hoole, who would rise up each night and perform noble deeds. They spoke no words but true ones, their purpose was to right all wrongs, to make strong the weak, mend the broken, vanquish the proud, and make powerless those who abused the frail. With hearts sublime they would take flight..."

""I don't really know what happened. I just fell out of the nest." But the second Soren said those words he felt a weird queasiness. He almost knew. He just couldn't quite remember, but he almost knew how it had happened, and he felt a mixture of dread and shame creep through him. He felt something terrible deep in his gizzard."

"Gylfie felt that the moment was right. "You are the last owl in the world that I would ever say lacked humility, 12-8. You are for my friend and myself a perfect example of humility. You are beyond humbleness! You are ..." Gylfie was madly searching for a word. What's she going to say next? Soren couldn't imagine. He had never seen such a demonstration of outrageous fawning. "You are subglaucious." 12-8 blinked at the word as did Soren, who had no idea what subglaucious meant. "We, my friend and I, only wish that we could serve in the eggorium and thus attain such humbleness as yourself." "Your words are kind, 25-2. I shall hope that they might encourage me in my continuing quest for humility while in service to a great cause." She wandered off looking a tad more moon blinked than before, if that was possible. "What in Glaux's name is subglaucious?" Soran said as soon as she was out of earshot. "No idea. I made it up.""

"Bye-bye," Auntie cooed, and waved a tattered wing. "Bye-bye, 12-8, you fool!"

"Gylfie looked at Soren gravely. "That is why we must learn how to fly before the next newing." "But I won't be ready. I won't have enough feathers," Soren said. "Almost, though." "Almost? There's a difference, Gylfie, between almost and enough." "Yes. The difference is belief, Soren. Belief.""

"Oh, if only I were perfectly moon blinked [hypnotized]. If only I were..."

"You can do it! You believe! Feel it in your gizzard. You are a creature of flight. Fly, my children. Fly!"

"I have redeemed myself by giving belief to the wings of the young. Blessed are those who believe, for indeed they shall fly."

"[After discovering Soren's former home is abandoned] Then Twilight spoke, "Soren, they're gone. Maybe something happened to them. You shouldn't take it personally. Buck up now, old buddy." "Personally? What do you know, Twilight, that is personal about any family? You've never had a family. Remember, you're always telling us about how much you learned in your own orphan school of tough learning. You don't know the feel of a mother's down. You don't know what it's like to hear stories from a father, or to hear him sing. Do you know what a psalm is, Twilight? I bet you don't. Well, we Barn Owls know about psalms and books and the feeling of down." Twilight's feathers had ruffled up, spiky with ice crystals. He looked fearsome. "I'll tell you what I know, you miserable little owl. The whole world is my family. I know the softness of a fox's fur, and the strange green light that comes into their eyes during the spring moons. I know how to fish because I learned from an eagle. And when meat is scarce I know how to find the ripest part of a rotten tree and peck the juiciest bugs from it. I know plenty.""

"Gylfie turned to Digger and spoke, "Come with us, Digger." "But where is it you're going?" he asked. "To the Great Ga'Hoole Tree." "What?" said Digger, but before Twilight could answer, Streak broke in. "I've heard of that place, but isn't it just a story, a legend?" "To some it might be," Twilight said, and blinked at the eagle. But not to owls, thought Soren. To owls, he thought, it is a real place."

"In my view there can be no affirmative action without segregation-nor any end to the segregation if our names must be kept on separate lists. I'd like to propose instead a simple scenario: a fair job market where employment is commensurate with ability regardless of gender, racial or ethnic background. I make a pitch, they like my story, I get the job. Why not ?"

"I think that wherever your journey takes you, there are new gods waiting there, with divine patience — and laughter."

"In the realm of ESP, precognition, dreams, and related matters, there are few guideposts and little common sense applied. Most of the books written in the so-called "occult" or "spiritual" fields were worthless nonsense in my opinion -- as were treatises that debunked all subjective experiences as "unscientific.""

"As I became accustomed to keeping dream records, the dreams themselves got "better," with more direct information and precognitive "hits.""

"If you could see the dreams of any town, or neighborhood, or family, or any group of people, would all waking events appear there in bits and pieces?"

"What struck me more than the book's UFO stories, however, was the common thread weaving among them of breathtaking alterations in consciousness associated with the experiences -- sensations of leaving the body, of flying through the air or being "carried along by the wind," and receiving "startling and novel insights into the nature of reality" that reverberated thereafter with profound, life-changing effects."

"Originally presented in The "Unknown" Reality, the counterpart idea holds that each of us is neurologically and psychically connected to others who are living in roughly the same given time period and exploring related areas of interest of life-themes; counterparts spring, as it were, from the same entity, or source-self, thus gaining experience from many simultaneous viewpoints."

"She said that she was technically a virgin when she married Rob. That after she and Walt were married, when they first came to making love and she caught sight of his penis, she'd cracked up because it was so big and she couldn't see how in hell they'd manage it. She never said in so many words, "I never had sexual interourse with Walt," e.g. But when I asked her, "So you were technically a virgin when you married Rob" (words to this effect), she said yes. She said that whenever she and Rob made love before a Seth session, or before a class session, that the results for the ensuing session were spectacular. And that sometimes she and Rob would make love for the sake of these results in a session."

"Jane never said much about this to me, and the few comments she did make, about a priest who "chased her around the bed," were delivered casually in group settings, with deprecating humor, no hint of the frightening child-molesting scenario or later sexual browbeating that Rob's notes make plain."

"To label Seth as a spirit guide is to limit an understanding of what he is . . . The minute I found out after my first book was published that this automatically put me in what people called the psychic field . . . I was so humiliated I could hardly hold my head up. I'm using my writing [and] my life to transform intuitive, sometimes revelationary material into art, where it can be enjoyed, understood to varying degrees, and stand free of the stupid interpretations . . . The whole psychic bit as it is, is intellectually and morally psychologically outrageous as far as I'm concerned and I want no part of it or the vocabulary or the ideas."

"Jane's attitude toward reincarnation (like mine) was strongly ambivalent. The idea of physical life being expressed in many historical situations made emotional and intuitive sense to her. Intellectually, however, she was highly suspicious of the standard notion of reincarnation, particularly as any kind of pat answer to present problems. Thus, when class started to experience the theory of reincarnation in emotionally-charged drama form, Jane would often find herself in a most uncomfortable one-foot-on-the-dock, one-foot-in-the-boat position, at once intellectually scandalized and intuitively involved. Even on those occasions when the inner events would "click," or when Seth gave past-life information that made complete sense to people, Jane worried about it for days afterwards. What was the meaning of such memories? Where did they come from? Were we creating the events through suggestion, combined with a need for emotional outlet? Or did we actually remember people who lived -- in our terms -- long before any of us were born? These questions demanded the class maintain a balance, from which Jane never let things stray too far."

"If a rapist comes to your door, then your own fears and anger and aggression have brought him there. You have broadcast your feelings, and he has picked them up . . . There is a reason -- there are no accidents."

"But in your terms, the population of the Earth is made of counterparts, and so there is, indeed, a relationship; and when you kill an enemy, you are killing a version of yourself."

"The Point of Power Is in the Present."

"You must realize that your personal self grows as naturally out of that universe as, in other terms, any star does, or any flower, or any oak leaf. You are a part of that system. AND WHEN YOU SEND OUT A PLEA, YOU DO INDEED SET THE UNIVERSE IN MOTION, SO THAT THE PLEA IS ANSWERED! And so do you also send help to others, often even when you are not aware of it, as a flower sends out help to someone simply because it is beautiful."

"Religion does not consist alone in reverence or adoration for a special object; but it makes that reverence the controlling and prompting influence of all other faculties of the mind. Thus there can be a religion of intellect, of love, of every department of the human mind; and a religion of life combines the whole of human existence, and makes up the sum of every department of earthly life."

"There is a true, religious devotion in the mind and feelings of that man whose soul springs forth in beauty and power, whose physical form is upright and symmetrical, and who, in fulfilling the laws of health, fulfils the laws of Deity. There is a true religion in the intellectual man, who, penetrating deeply into the earth, and air, and sky, for scientific investigation, culls all the treasures of thought and beauty, and stores them up in his memory as sacred and divine."

"A religion of bigotry and sectarianism … becomes, not a religion of life, but a religion of one special department and thus a man may be religious on one plane and entirely irreligious on another."

"There is certainly a religion which belongs to the physical form, and which should be regarded in degree as much as that which belongs to the soul. It is as much a duty for every man and woman to perfect fully their physical form as for them to continually search for immortality."

"Your theology has taught you to believe that any religion, to be perfected, must be so at the sacrifice of the physical form or powers. Hence, the ancient religionists confined themselves within the cloistered cells of monasteries, and there with true devoutness of feeling they sought to perfect the immortality of the soul by crucifying the body. Health, life, intellect—all were sacrificed to this fanaticism for a happy immortality. … Ask any religionist what constitutes true and perfect religion, and he will tell you it is that which crucifies the human part and cultivates the divine."

"When you endeavor to perfect every department of that form—physically, mentally, spiritually—then you are fulfilling the laws of true religion. Can a soul perfect itself in every department, when the physical form is groaning under disease, and continually decaying in consequence of the endeavor to crucify it? Never. The soul must spring forth spontaneously, and the form must be subservient to the slightest thought and feeling of the soul."

"There is true religion in that man who, instead of endeavoring to perfect but one department of his nature, makes his physical, mental, social, and moral life, equal. Cultivate your physical nature, perfect your life, and in that proportion your soul will be perfect. Cultivate strength, vigor, power, manliness, and symmetry, and in that proportion the soul can think greater thoughts."

"Reason is a religious duty and quality of the mind; and exercise of the judgment upon all occasions and subjects is true and most divine worship."

"Religion can not be defined as belonging to any special faculty; and even reverence and worship are but local manifestations of the religious element, and can not be said to be true religion unless they extend through every department of the mind. Religion, properly considered, is that subtle agent of the soul which aspires to perfection in whatever way it is to be attained; and seeks to worship God because he is infinite, and is what man is for ever aspiring to become."

"I’m nothing but a conduit. The music goes though my ears, my fingers... Composer is a god. Composer creates music. We’re performers. We’re just passing it on."

"If the question [about if there were only one composer in the world I could play] is purely ‘original’ works, no transcriptions, then Beethoven."

"Memorising notes as one memorises a speech in foreign language is bound to lead to memory lapses. YouTube is an invaluable tool; you can get to study your repertory with the best pianists of all times. Use it. If you are learning a piece, don’t hesitate to put your headphones on and just play along with your favourite recording. No matter how many times you hear the playing you will not grasp all the finer points if not directly measuring your inner hearing of music with the an interpretation you like."

"Would-be musicians are starving themselves emotionally and intellectually just to be perfect."

"It’s only when you stop trying to find faults and start doing something constructive that you will survive … It’s just good for you as a human not to dwell on your disasters."

"... ongoing accusations of deeply offensive language by Ukrainian media outlets"

"Valentina Lisitsa in conversation with Melanie Spanswick (Nov 4, 2012) on Youtube 80,802 views"

"It is the things of the spirit, the arts of the country, which have always led mankind forward, and it is to this spirit that the craftsmen of the world must lend themselves."

"A good life is found only where the creative spirit abounds, where people are free to experiment and create new ideas within themselves."

"I love to dance."

"Discussions of female spectatorship among feminist film critics over the last fifteen years have relentlessly pursued the elusive problem of gender and visual representation through various intriguing, but ultimately unsatisfactory, models in linguistic, psychoanalytic, and narrational convention."

"Such a strategy has a number of potential applications for feminist architectural theory. The persistence of a naturalized social history of architecture, which proposes that typical forms are an inevitable, logical response to natural conditions and preexisting structures, has obscured the role that architecture – as representation and as convention – plays in the cultural system. Within a naturalized architectural history and criticism, moreover, the representation (or, more accurately, the marginalization) of women in the established order has come to appear inevitable. Images of women as essentially recessive, nurturing, and domestic or as complicit, masquerading objects of narcissism and desire persist unchallenged."

"If a woman has her PhD in physics, has mastered quantum theory, plays flawless Chopin, was once a cheerleader, and is now married to a man who plays baseball, she will forever be "former cheerleader married to star athlete.""

"It was June, and the world smelled of roses. The sunshine was like powdered gold over the grassy hillside."

"She thought of the library, so shining white and new; the rows and rows of unread books; the bliss of unhurried sojourns there and of going out to a restaurant, alone, to eat."

"He moved inside the temple to perform his duties. They were few, and empty tradition. The god had departed, long before its last, ridiculed worshippers, as gods always do. The keeper knew that, and allowed himself no illusions about his status."

"You’d have everyone substitute your fantasies for their own."

"Jason was an optimist, and Kylis was experienced."

"She had learned to doubt, rather than simply to question."

"He must have been rebuffed and denigrated all his life, to be so afraid of touching another human being."

"She, too, felt the need for fresh air and rain and the ocean’s silent words."

"We spend most of our time carrying trivial cargoes for trivial reasons to trivial people."

"“It’s impossible to protect anyone completely without enslaving them. I think that’s something you’ve never understood because you’ve always demanded too much of yourself. You blame yourself for your sister’s death—” “I didn’t watch her carefully enough.” “What could you have done? Remember her life, not her death. She was brave and happy and arrogant, the way a child should be. You could only protect her more by chaining her to you with fear. She couldn’t live that way, not and remain the person you loved.”"

"He seemed to be so used to having his own way that he could not deal with bad fortune."

"If you want to. That’s the important thing. For you to do what you want to do. Not what you think anyone else wants or expects you to do."

"The intensity of Melissa’s loyalty troubled Snake. She had never known anyone who was so completely oblivious to self-interest. Perhaps Melissa could not yet think of herself as someone with a right to her own dreams; perhaps so many of her dreams had been taken from her that she no longer dared to have them."

"It was not fear that kept them from misusing what they had. It was self-respect."

"My fiancé is so handsome. Imma have to send his parents a fruit basket thanking them for creating the perfect man."

"I'm beyond lucky to have fallen in love with my best friend."

"I'd like to thank my parents for providing me with a high IQ & I'd like to thank my grams for encouraging me not to be a self absorbed idiot"

"Two out of my three cats follow me around like furry little stalkers. It's such a nice ego boost."

"It's Friday the 13th. my favorite holiday. Keep it weird."

"Halloween is so close I can practically taste the children's tears."

"All black everyday always"

"I wish there was an on & off switch for my brain. I think too fucking much."

"saddened to hear the passing of a true artistic master, H.R. Giger. Ur legacy will live on through ur innovative & stimulating originality"

"Attempting to be a people pleaser is a fruitless task so, fuck it."

"Humans are an embarrassing species w/ small glimmers of beauty that seep through the veil of bigotry&stupidity, every once in a small while."

"the death of young musicians isn't something to romanticize (cont)"

"I'll never know my father because he died young & it becomes a desirable feat because ppl like u think it's "cool"(cont)"

"Well, it's fucking not. Embrace life, because u only get one life. The ppl u mentioned wasted that life.Don't be 1 of those ppl"

"ur too talented to waste it away."

"I'm not attacking anyone. I have no animosity towards Lana, I was just trying to put things in perspective from personal experience"

"Dark City is such an underrated film."

"Happy birthday to my unorthodox/free spirited mother @Courtney thanks for teaching me to embrace creativity&survive"

"Constantly battling with sabretooth tigers and fluid drained lighters."

"Stardust coursing through our veins."

"Being a people pleaser is a fruitless task; love is love. There's no debating that concept."

"You see something faraway & it looks beautiful & very seductive; but as you go closer you realize it's actually bugs crawling over a corpse."

"The Idealization of deep flaws seeping through coiled cracks; The reality we all want to avoid is a plagued sickness we choose to live with."

"So many ways to be deemed unclean"

"I'm coming back as a cat or a tree or a molecule in my next life."

"Teetering in between worlds with a sleepy conscious, pestilence, infinite knowledge, alienation, burning cigarettes, vibes & male seahorses."

"The people who Bitch about life the most are the people who secretly love bitching"

"Self-fulfillment and Growth are some of the most courageous acts on this planet"

"I'm a different person. I don't want to be titled as Courtney Love and Kurt Cobain's daughter. I want to be thought of as Frances Cobain."

"She tells me to "live free and be free, but listen to other people's advice." I listen, but I don't always follow it."

"My favorite color is light pink. I also like baby blue because it brings out my eyes."

"New York is like my dream city. That's where I'm going to live, I'm convinced of it."

"Mom and I…we're both very flaky people."

"I get it, I really do, but at the same time, it's creepy. It's creepy to see fan sites about me."

"These people are fascinated by me, but I haven't done anything. I'm famous by default. I came out of the womb and people wanted to know who I was because of my parents. If you're a big Nirvana fan, a big Hole fan, then I understand why you would want to get to know me, but I'm not my parents. People need to wait until I've done something valid with my life."

"I have the attention span of a rabbit on cocaine."

"I can count on one hand how many people I trust."

"I want to be sublimely happy."

"I don't like to look sloppy. I'm a girlie-girl."

"While I'm generally silent on the affairs of my biological mother, her recent tirade has taken a gross turn. I have never been approached by Dave Grohl in more than a platonic way. I'm in a monogamous relationship and very happy. Twitter should ban my mother."

"Kurt got to the point where he eventually had to sacrifice every bit of who he was to his art, because the world demanded it of him," Frances says bluntly at one point. "I think that was one of the main triggers as to why he felt he didn't want to be here and everyone would be happier without him."But "in reality, if he had lived," she goes on, "I would have had a dad. And that would have been an incredible experience."

"It paints a portrait of a man attempting to cope with being a human."

"Even though Kurt died in the most horrific way possible, there is this mythology and romanticism that surrounds him, because he's 27 forever. The shelf life of an artist or musician isn't particularly long. Kurt has gotten to icon status because he will never age. He will always be that relevant in that time and always be beautiful."

"There is, with any great artist, a little manic-ness and insanity."

"My dad was exceptionally ambitious. But he had a lot thrown on him, exceeding his ambition. He wanted his band to be successful. But he didn't want to be the fucking voice of a generation."

"I don't really like Nirvana that much. [grins] Sorry, promotional people, Universal. I'm more into Mercury Rev, Oasis, Brian Jonestown Massacre. [laughs] The grunge scene is not what I'm interested in. But "Territorial Pissings" is a fucking great song. And "Dumb"—I cry every time I hear that song. It's a stripped-down version of Kurt's perception of himself—of himself on drugs, off drugs, feeling inadequate to be titled the voice of a generation."

"No. I would have felt more awkward if I'd been a fan. I was around 15 when I realized he was inescapable. Even if I was in a car and had the radio on, there's my dad. He's larger than life and our culture is obsessed with dead musicians. We love to put them on a pedestal. If Kurt had just been another guy who abandoned his family in the most awful way possible… But he wasn't. He inspired people to put him on a pedestal, to become St. Kurt."

"They [Dave Grohl, Krist Novoselic, and Pat Smear] look at me, and you can see they're looking at a ghost. … Dave said, "She is so much like Kurt." They were all talking amongst themselves, rehashing old stories I'd heard a million times. I was sitting in a chair, chain-smoking, looking down like this. [acts bored] And they went, "You are doing exactly what your father would have done.""

"The hardest part of doing anything creatively is just getting up and doing. Once I get out of bed and get into my art room, I start painting. I'm there. And I'm doing it."

"We're each other's everything."

"I love strong, opinionated, intelligent women."

"The study of human relations in business and the study of the technology of operating are bound up together."

"Group organization is to be the new method in politics, the basis of our future industrial system, the foundation of international order. Group organization will create the new world we are now blindly feeling after, for creative force comes from the group, creative power is evolved through the activity of the group life."

"Early psychology was based on the study of the individual; early sociology was based on the study of society. But there is no such thing as the "individual," there is no such thing as "society"; there is only the group and the group-unit — the social individual. Social psychology must begin with an intensive study of the group, of the selective processes which go on within it, the differentiated reactions, the likenesses and unlikenesses, and the spiritual energy which unites them."

"The group process contains the secret of collective life, it is the key to democracy, it is the master lesson for every individual to learn, it is our chief hope or the political, the social, the international life of the future."

"As the psychic coherence of the group can be obtained only by the full contribution of every member, so we see that a readiness to compromise must be no part of the individual's attitude. Just so far as people think that the basis of working together is compromise or concession, just so far they do not understand the first principles of working together."

"What then is the essence of the group process by which are evolved the collective thought and the collective will? It is an acting and reacting, a single and identical process which brings out differences and integrates them into a unity. The complex reciprocal action, the intricate interweavings of the members of the group, is the social process."

"We see now that the process of the many becoming one is not a metaphysical or mystical idea; psychological analysis shows us how we can at the same moment be the self and the other, it shows how we can be forever apart and forever united. It is by the group process that the transfiguration of the external into the spiritual takes place, that is, that what seems a series becomes a whole. The essence of society is difference, related difference. "Give me your difference" is the cry of society to-day to every man."

"Individuality is the capacity for union. The measure of individuality is the depth and breadth of true relation. I am an individual not as far as I am apart from, but as far as I am a part of other men. Evil is non-relation."

"It is a mistake to think that social progress is to depend upon anything happening to the working people: some say that they are to be given more material goods and all will be well; some think they are to be given more "education" and the world will be saved. It is equally a mistake to think that what we need is the conversion to "unselfishness" of the capitalist class."

"Democracy has meant to many "natural" rights, "liberty" and "equality." The acceptance of the group principle defines for us in truer fashion those watchwords of the past. If my true self is the group-self, then my only rights are those which membership in a group gives me."

"Man can have no rights apart from society or independent of society or against society."

"Democracy is a great spiritual force evolving itself from men, utilizing each, completing his incompleteness by weaving together all in the many-membered community life which is the true Theophany. The world today is growing more spiritual, and I say this not in spite of the Great War, but because of all this war has shown us of the inner forces bursting forth in fuller and fuller expression."

"Since I have been in England I have been asked several times why I am studying business management. I will try to tell you. Free to choose between different paths of study, I have chosen this for a number of reasons. First of all, it is among businessmen (not all, but a few) that I find the greatest vitality of thinking to-day, and I like to do my thinking where it is most alive. I said last winter to a Professor of Philosophy: 'Do you realize that you philosophers have got to look to your laurels, that businessmen are doing some very valuable thinking and may get ahead of you?' And he acknowledged this, which I think was a very significant concession. Moreover, I find the thinking of businessmen to-day in line with the deepest and best thinking we have ever had. The last word in science—in biology—is the principle of unifying. The most profound philosophers have always given us unifying as the fundamental principle of life. And now business men are finding it is the way to run a successful business. Here the ideal and the practical have joined hands. That is why I am working at business management, because, while I care for the ideal, it is only because I want to help bring it into our everyday affairs."

"Another reason is because industry is the most important field of human activity, and management is the fundamental element in industry. It is now generally recognized that not bankers, not stockholders, but management is the pivot of business success. It is good management that draws credit, that draws workers, that draws customers. Moreover, whatever changes should come, whether industry is owned by individual capitalists, or by the State, or by the workers, it will always have to be managed. Management is a permanent function of business."

"The third reason why I am working at business management is because I believe in control, and so do our most progressive business men. I believe in the individual not trusting to fate or chance or inheritance or environment, but learning how to control his own life. And nowhere do I see such a complete acceptance of this as in business thinking, the thinking of more progressive business men. They are taking the mysticism out of business. They do not believe that there is anything fatalistic about the business cycle that is wholly beyond the comprehension of men; they believe that it can be studied and to some extent controlled."

"One of the most interesting things about business to me is that I find so many business men who are willing to try experiments. I should like to tell you about two evenings I spent last winter and the contrast between them. I went one evening to a drawing-room meeting where economists and M.Ps. talked of current affairs, of our present difficulties. It all seemed a little vague to me, did not seem really to come to grips with our problem. The next evening it happened that I went to a dinner of twenty business men who were discussing the question of centralization and decentralization. Each one had something to add from his own experience of the relation of branch firms to the central office, and the other problems included in the subject. There I found L hope for the future. There men were not theorizing or dogmatizing; they were thinking of what they had actually done and they were willing to try new ways the next morning, so to speak. Business, because it gives us the opportunity of trying new roads, of blazing new trails, because, in short, it is pioneer work, pioneer work in the organized relations of human beings, seems to me to offer as thrilling an experience as going into a new country and building railroads over new mountains. For whatever problems we solve in business management may help towards the solution of world problems, since the principles of organization and administration which are discovered as best for business can be applied to government or international relations. Indeed, the solution of world problems must eventually be built up from all the little bits of experience wherever people are consciously trying to solve problems of relation. And this attempt is being made more consciously and deliberately in industry than anywhere else."

"You may wonder why I have talked of government, and of the League of Nations, instead of spending all my hour on leadership in industry. I have done it deliberately, because it seems to me a fact of very great significance that we are finding the same trend in all these different fields. It reinforces us in our conviction that we are moving in harmony with the deeper and more vital forces of human progress."

"Certain changes have been going on in business practice which are destined, I believe, to alter our thinking fundamentally. I think this is a contribution which business is going to make to the world, and not only to the business world, but eventually to government and international relations. Men may be making useful products, but beyond this, by helping to solve the problems of human relations, they are perhaps destined to lead the world in the solution of those great problems of coordination and control upon which our future progress must depend."

"THE subject I have been given for these lectures is The Psychological Foundations of Business Administration, but as it is obvious that we cannot in four papers consider all the contributions which contemporary psychology is making to business administration — to the methods of hiring, promoting and discharging, to the consideration of incentives, the relation of output to motive, to group organization, etc. — I have chosen certain subjects which seem to me to go to the heart of personnel relations in industry. I wish to consider in this paper the most fruitful way of dealing with conflict. At the outset I should like to ask you to agree for the moment to think of conflict as neither good nor bad; to consider it without ethical prejudgment; to think of it not as warfare, but as the appearance of difference, difference of opinions, of interests. For that is what conflict means — difference. We shall not consider merely the differences between employer and employee, but those between managers, between the directors at the Board meetings, or wherever difference appears."

"There are three main ways of dealing with conflict; domination, compromise and integration. Domination, obviously, is a victory of one side over the other. This is the easiest way of dealing with conflict, the easiest for the moment but not usually successful in the long run, as we can see from what has happened since the War."

"Power is not a pre-existing thing which can be handed out to someone, or wrenched from someone. We have seen again and again the failure of "power" conferred. You could give me dozens of cases. The division of power is not the thing to be considered, but the method of organization which will generate power."

"There is no such thing as vicarious experience."

"We can never wholly separate the human from the mechanical side... But you all see every day that the study of human relations in business and the study of operating are bound up together."

"We can confer authority; but power or capacity, no man can give or take. The manager cannot share his power with division superintendent or foreman or workmen, but he can give them opportunities for developing their power"

"Before Mary Follett, industrial groups had seldom been the subject of study of political or social scientists. It was her special merit to turn from the traditional subjects of study - the state or the community as a whole - progressively to concentrate on the study of industry... Her approach was to analyse the nature of the consent on which any democratic group is based by examining the psychological factors underlying it. This consent, she suggested, is not static but a continuous process, generating new and living group ideas through the interpenetration of individual ideas."

"Mary Follett devoted a lifetime to searching for the true principles of organization which would ensure a stable foundation for the steady, ordered progress of human well-being. That her search was not in vain will be evident to all who read the lectures. Her teaching is not theoretical, but is based on a close study of the practice of a large number of business undertakings. She chose this field of enquiry to supplement her work on local and national government because she realized that the principles which should determine organization are identical, no matter what the purpose which that organization is designed to serve."

"WE SHOULDN'T FORGET "the woman who invented management," particularly when Peter Drucker is said to have referred to her as his "guru": Mary Parker Follett (1868-1933). Rising to prominence as a management consultant in the 1920s, she is generally recognized as the originator of management concepts based on human relationships, teamwork, win-win solutions, leadership through shared purpose, and what would come to be called knowledge work."

"One of the undesirable by-products of the factory system was the frequent abuse of unskilled workers, including children, who were often subjected to unhealthy working conditions, long hours, and low pay. The appalling conditions spurred a national anti-factory campaign. Led by Mary Parker Follett and Lillian Gilbreth, the campaign gave rise to the “human relations movement" advocating more humane working. Among other things, the human relations movement provided a more complex and realistic understanding of workers as people, instead of merely cogs in a factory machine."

"The damp packed earth beneath the magnolias was our playground, but even when I was small I watched the middle distance, as if my destiny might arise from the grooved line where the mangroves met the sky. Sometimes a pelican would appear out of the haze, six horizontal feet of pterodactyl in an effortless glissade, cruising just above the treetops, riding down the long, drawn-out minutes of the morning."

"Danger is like a nutrient for truth. When you have danger, you get the best truth. When it's safe, who cares?"

"We were a tiny redoubt of culture holding our own against the neighboring Huns of organized sports. I pretended to join the group disdain, but I knew in my heart it was already too late. After the two innings I had watched before leaving the house, baseball had reclaimed me. ...Forty years is a long time to hold your breath, but I was back."

"Joy can come alive like that, when random pieces of history and rhythm, pause and expectation, melody and lyric, suddenly rearrange themselves into a pattern that leaps up, back against the wall, and catches your heart."

"Lips... were ubiquitous in the ‘50s, when a few icons of womanhood were tattooed onto my temporal lobes."

"One of the abiding mysteries of my life is the fact that lipstick disappears from my mouth five minutes after I put it on. I’m in awe of women who are always––always––lipstick intact, even during and after meals. I guess I’m a chronic lip-biter, lip-licker and mouth-wiper. But since I found out that the average woman eats nine pounds of lipstick in her lifetime, I can’t bring myself to reapply that often. Whatever chemicals they’ve added to make a lipstick long-wearing, I’d just swallow those too."

"Someday I’ll do an historical survey and in-depth analysis of lipstick color names and it will be an accurate reflection of our evolving culture."

"I envied him these passions. If you had passions, you were living. Without them, you were watching––the way I was watching desert sand and half-dead creosote go by and wishing I’d stop craving attention from Charles."

"I loved these compliments, which he lobbed at me like popcorn at a pigeon. I felt silly for craving his attention and powerful because he had noticed me. I bounced between those extremes, every other heartbeat, laying down hope one stratum at a time. The fact that he was all wrong––married, my boss, a flirt––gave me a perverse desire to make it right."

"A cottonwood leaf beetle scuttled out of the loosened earth, frantic legs working the sandy dirt, orange and black body desperate for a new hiding place. The sunset was fading, and a bloated ocher moon pushed its way into the dark blue sky."

"And so for the remaining two hours of the meeting, Mr. Delgado and I sat in the front and directed the discussion. Or rather he directed it and I pretended I had an equal voice. A pattern quickly emerged in which my words would be greeted by silence and chilly looks; then Mr. Delgado would rephrase what I had said, as if interpreting from female to male language, with the added weight of an American accent."

"“Rodney, whatever is the opposite of philosophy?” “My dear, the opposite of philosophy is terror.” “Terror? You mean fear of death?” I asked. “I don’t think so...” “Fear of what, then?” “Of never having lived.”"

"Each somersault whipped out a perfect arc of shiny drops from his thick black hair. Then, as if it were his decision and not gravity’s, he opened the blade of his body toward the water and pierced its placid blue surface."

"Even the blue-and-white Delftware tile is back up on the wall because, when you took it down, the pale square of paint behind it broke your heart."

"We came down from the trees, up from the grasslands, and into an SUV. We drove. We motored. We headed for that Texas horizon, flat as the flat-line on a heart monitor, straight to the brink of extinction, all the while pumping gas."

"My plan... was to watch the Perseid meteor shower. ...before I died. But a call came in at midnight... I... started down New Mexico state road 44. The night was warm and clear, and I could hear the high desert all around me, breathing and stretching in the dark. Even as a little boy, I could see things––beyond what others saw—but now I could hear things too. ...Everything on the plateau hummed: the volcanic ridges and the red desert floor; the San Juan River and the Aztec Ruins; the spiny edges of and piñon, moving on the breeze."

"Yes, it’s hard to explain... It sets you apart, and people think you’re nuts. ...[N]obody else saw omens, auras, colors. I once cried over a sheep dog—a day before he died—and then was cursed as if I caused it. After that I kept quiet. I pretty much kept quiet for fifty years once I realized nobody cared... Even a tumbleweed trapped under barbed wire has purpose. ...I never denied the gift, if that’s what it was, but it came with loneliness."

"He pointed toward the constellation. He did indeed know things. ...But it was hard for me to take it all in. The night was too crowded with joy. And the desert was making all that noise. And next to me, the girl... With every shooting star, she touched my arm and whispered, “Ooh, Mister, look.”"

"My grandfather always says that's what books are for," Ashoke said, using the opportunity to open the volume in his hands. “To travel without moving an inch."

"(What immigrant fiction has been the most important to you, both personally and as an inspiration for your own writing?) I don’t know what to make of the term “immigrant fiction.” Writers have always tended to write about the worlds they come from. And it just so happens that many writers originate from different parts of the world than the ones they end up living in, either by choice or by necessity or by circumstance, and therefore, write about those experiences. If certain books are to be termed immigrant fiction, what do we call the rest? Native fiction? Puritan fiction? This distinction doesn’t agree with me. Given the history of the United States, all American fiction could be classified as immigrant fiction. Hawthorne writes about immigrants. So does Willa Cather. From the beginnings of literature, poets and writers have based their narratives on crossing borders, on wandering, on exile, on encounters beyond the familiar. The stranger is an archetype in epic poetry, in novels. The tension between alienation and assimilation has always been a basic theme."

"yet I know that expressing oneself necessarily means being different. The writer's voice is a singular one, solitary. Art is nothing other than the freedom to express oneself in any language, in whatever manner, dressed any which way."

"Books come to stand for various episodes in our lives, for certain idealisms, follies of belief, moments of love. Along the way they accumulate our marks, our stains, our innocent abuses—they come to wear our experience of them on their covers and bindings like wrinkles on our skin."

"Surely it is a magical thing for a handful of words, artfully arranged, to stop time. To conjure place, a person, a situation, in all its specificity and dimensions. To affect us and alter us, as profoundly as real people and things do."

"I'm amazed at how fast the interest has grown in writing in English by writers of South Asian origin, whether they're living in India, living in South Asia, or they are expatriate writers living here or immigrant American writers like Jhumpa Lahiri and me. The size of the community of such writers and the body of work produced has happened so fast."

"Social movements for global democracy and justice should try not only to build on and create global legal and regulatory institutions, but also to expand possibilities for transnational association and public spheres."

"A developer has bought the central-city apartment building where Sandy, a single mother, has been living with her two children; he plans to convert it into condominiums. … She looks in the newspaper and online for apartment rental advertisements, and she is shocked at the rents for one- and two-bedroom apartments. … Sandy searches for two months, with the eviction deadline looming over her. Finally she settles for a one-bedroom apartment a forty-five-minute drive from her job. … Sandy sees no other option but to take the apartment, and then faces one final hurdle: she needs to deposit three months' rent to secure the apartment. She has used all her savings for a down payment on the car, however. So she cannot rent the apartment, and having learned that this is a typical landlord policy, she now faces the prospect of homelessness. This mundane story can be repeated with minor variations for hundreds of thousands of people in the United States. … She is largely a victim of circumstances beyond her control—the landlord’s decision to sell the apartment building, a sex-segregated labor market that makes low-wage service jobs the primary work opportunity for women without college or technical training, the "spatial mismatch" that locates those jobs far from most affordable housing, and so on. … Most people react to a situation like Sandy's with the intuition that something is wrong. But what is the wrong, and who is responsible for it? The wrong is structural injustice."

"A painting to me is primarily a verb, not a noun, an event first and only secondarily an image."

"When I painted my seated men, I saw them as gyroscopes. Portraiture always fascinated me because I love the particular gesture of a particular expression or stance.. .Working on the figure, I wanted paint to sweep through as feelings sweep through.."

"When I painted Frank O'Hara, [in 1962] Frank was standing there. First I painted the whole structure of his face; then I wiped out the face, and when the face was gone, it was more Frank than when the face was there."

"Bill [Willem de Kooning] was working on a huge canvas. It was black and white. And I said to him, 'It's very curious.' You know, I came into the studio. I had my separate studio and I walked in and I said, 'It's very curious. There are no treelike shapes in that painting. The forms are all like animals more or less and organic shapes that don't resemble the forest at all, but I get the feeling of Faulkner forest from that painting.' Bill said, 'That's extraordinary.' And he went over and lifted up a pile of papers and underneath was a book by Faulkner and later he named a painting 'Light in August' [he painted in 1946]."

"Always when I look at anyone's art, I get flashes of the person. If I walk into a room and there's a painting by Joan Mitchell, I say, "There's Joannie." Or Grace, if it's Grace Hartigan. And to me all art is self-portraits."

"[In the past] women painted women: Louise Élisabeth Vigée Le Brun, Mary Cassatt, and so forth. And I thought, men always painted the opposite sex, and I wanted to paint men as sex objects."

"I always say I'm an escape artist, Style is something I've always tried to avoid. I'm more interested in character. Character comes out of the work. Style is applied or imposed on it."

"Nowadays, when an artist discovers 'the sky,' it's like a bride who has never done any housework raving about her first vacuum cleaner. It's just not news." (Yet she confessed that the experience prompted her to deviate from a more controlled linear style and work freely with lively, confrontational colors directly influenced by the Southwest)"

"One of the reasons I was asked to do the portrait [of president J. F. Kennedy, winter of 1962–63, destined for the Truman Library, Independence, Mo] is that, with luck, I can start and finish a life-size portrait in one sitting (after a couple of preliminary sessions of sketches to determine the pose and familiarize myself with my impression of the sitter). After years of working on my portraits (mostly of friends) for months at a time, I found myself getting bogged down in overly conscientious effort and discovered that by working swiftly I could enter into an almost passive relationship to the canvas and get closer to the essential gesture of the sitter. However, working at top speed this way, I require the absolute immobility of the sitter. This was impossible with President Kennedy because of his extreme restlessness: he read papers, talked on the phone, jotted down notes, crossed and uncrossed his legs, shifted from one arm of the chair to another, always in action at rest. So I had to find a new approach."

"I began [to portray president Kennedy ] with fragmentary sketches—first in charcoal, then in casein, sometimes just heads, sometimes the whole figure. For the first session (during a Medicare conference), I sat on top of a 6-foot ladder to get an unimpeded view of him. Concentrating on bone structure, most of my first sketches of him made him look twenty years younger. This was also because the positions he assumed were those of a college athlete. I made about thirty sketches at the first session and rushed back to a big studio that had been turned over to me by the Norton Gallery, made further drawing combining different aspects, and finally, after a couple days, decided on the proportions and size of the first canvas—4 by 8 feet. In succeeding sessions of sketching, I was struck by the curious faceted structure of light over his face and hair—a quality of transparent ruddiness. This play of light contributed to the extraordinary variety of expressions."

"Beside my own intense, multiple impressions of him, I also had to contend with his 'world image' created by the endless newspaper photographs, TV appearances, caricatures. Realizing this, I began to collect hundreds of photographs torn from newspapers and magazines and never missed an opportunity to draw him when he appeared on TV. These snapshots covered every angle, from above, below, profile, back, standing, sitting, walking, close-up, off in the distance. I particularly liked tiny shots where the features were indistinct yet unmistakable. Covering my walls with my own sketches and these photographs, I worked from canvas to canvas (the smallest 2 feet high, the largest, 11) always striving for a composite image."

"Well, first—that term, 'women artists.' I was talking to Joan Mitchell at a party about 10 years ago when a man came up to us and said, 'What do you women artists think...' Joan grabbed my arm and said, 'Elaine, let's get the hell out of here.' That was my first response to Linda Nochlin's article ['Why Have There Been No Great Women Artists?']. I was curious about how a man would react. Alex Katz thought it would be a cop-out to answer the piece. Sherman thought it would be a cop-out not to answer it. John Cage thought the question 'divisive and an over-simplification.' I agree with all of them."

"When Miss Nochlin says: 'If women have in fact achieved the same status as men in the arts, then the status quo is fine as it is.' Well, I think the status quo in the arts is fine as it is - in this country [America] at least, women have exactly the same chance that men do. There are the same schools, museums, galleries, books, art stores. There are no obstacles in the way of a woman becoming a painter or sculptor other than the usual obstacles that any artist has to face."

"In shows selected by artists where there is no consciousness of sex, as in the American Abstract Artist Shows which began in the late 1930's or the Artists Annuals of the early 1950's, the ratio [between male and female artists presented there] seemed to be between one third and one quarter women. The only way to arrive at a true ratio, I suppose, would again be to have artist-juried shows."

"When I was five years old, my mother took me to the Metropolitan. I remember being overwhelmed by the hush — the glamor of the place. Also I used to be mesmerized by the stained-glass windows in church — but it never occurred to me that anyone made them. I thought they were just there, like trees, chairs, houses and the reproductions on the walls at home. I was always drawing, but I didn't make any connection. Then, by the time I was 10 or 11, other kids were asking me for my drawings and were referring to me as an artist. I hadn't given the matter any thought. I just loved to draw. I loved the activity. But when they bestowed the title on me (by then I was reading about artists and going to museums on my own), I thought, oh yes, I'm an artist, and from then on I took it for granted — and I began to compete. I'd read that Raphael had done something by the age of 12 and I'd get very anxious. I became very time-conscious. If I read about someone's great accomplishment at the age of 20, I'd heave a sigh of relief and feel, maybe there's still time. How did you start? [to Rosalyn Drexler ]"

"I reacted to Cézanne almost the same way as you [= Rosalyn Drexler ], the first time I saw him when I was 14.. .Then I saw my first Cezanne and it jolted me. It was a 'Bathers' [Cézanne painted several of them]. I didn't think he drew well at all. I thought the figures looked stiff and wooden, but I was enthralled by it. I knew there was something there that was going to take me a lifetime to understand. What I took to be the crudity of his technique — that opened a door for me. I began to look at everything differently. That was the year [1932] I discovered Matisse, Picasso, Degas, Soutine — I began to go to the Museum of Modern Art every week. At the same time, I loved New Yorker covers — and El Greco. I didn't mind mixing things up. Nobody was going to tell me what to like or what not to like. Until I was 17 I thought all real artists (I didn't count commercial artists) were dead or foreign with the exceptions of Georgia O'Keeffe and John Marin, whose work I had seen at 'An American Place'."

"I was overjoyed when I was taken to a show of the American Abstract Artists Group in '37. They were all alive and they were American! My escort further interested me when he told me the two best abstract artists in America were not in the show — Arshile Gorky and Willem de Kooning, whom I met a couple of months later — when I began to study with him [with Willem de Kooning]. When Miss Nochlin says, 'What is important is that women face up to the reality of their history,' well, the point is, artists are always choosing their history from day to day and their history follows them as much as it precedes them. Were American artists 'facing up to the reality of their history' when they turned to the School of Paris or to German Expressionism or Dada or Surrealism or de Stijl or the Bauhaus instead of to Copley, Peale, Eakins, Blake or Ryder; was Picasso facing up to the reality of his history when he was snooping around African art for inspiration?"

"I think there are too damn many institutions on the face of the earth as it is. Robert Graves said: 'As soon as women organize themselves in the male way with societies, memberships and rules, everything goes wrong.' I think that applies to artists, too. The artist stands for everything against institutions.. [Rosalyn Drexler reacted: 'Institutions and clear thought are opposites. You can't have one with the other']. Right! Institution to me means authority, coercion, mindlessness, bureaucracy; it means the Pentagon, the CIA, the army, organized denominational religion, prisons, mental hospitals."

"Mrs. de Kooning, who was married to the artist Willem de Kooning, was a highly versatile painter whose work ranged from realism to abstraction but was grounded in the gestural Abstract Expressionism of the New York School. Her landscapes, portraits and studies of athletes in action were notable for their verve and freshness."

"After Elaine de Kooning returned to New York from teaching at the University of New Mexico, her studio burst with energetic paintings based on bullfights in Juárez, Mexico, and the expansive western landscape. De Kooning dryly observed 'Nowadays, when an artist discovers 'the sky,' it's like a bride who has never done any housework raving about her first vacuum cleaner. It's just not news.' Yet she confessed that the experience prompted her to deviate from a more controlled linear style and work freely with lively, confrontational colors directly influenced by the Southwest."

"It was Elaine de Kooning who perhaps best described the nature of Abstract Expressionism when she wrote: 'The main difference, then, between abstract and non-abstract art is that the abstract artists does not have to choose a subject. But whether or not he chooses, he always ends up with one.'"

"It's time for a disclaimer. Elaine de Kooning and I were friends. She was a great mentor to me, and in memory continues to be. We met during her time at UNM. I was an incipient poet, she already an accomplished painter. But I was able to introduce her to the bullfights in Ciudad Juárez, a subject she would paint for many years. I followed her back to New York (as did several others who knew her here) and we remained friends until her death. March 12th would have been Elaine's 97th birthday. I wished this honoring of her work could have happened when she was alive, or that she might have lived to experience it."

"Gesture is so well executed in Elaine's portraits that in a number of them she deliberately erased some or all of the facial features. This is true in several images of the painter's brother Conrad Fried, and of her fellow painter Fairfield Porter. An early critic, otherwise complimentary, wondered if she was unable to draw or paint faces. Nothing could be further from the truth, as many of her other portraits attest. But Elaine often said the face's features change with age, while the way one sits, stands or moves is more of a constant throughout one's life. Her figures often seem to be quiet and in movement simultaneously."

"One of Elaine's friends asked her later in life what it was like to work in the shadow of Willem de Kooning, curator Brandon Fortune says. And her reply was: 'I don't paint in his shadow, I paint in his light.'"

"I think if you are a chef who thinks that vegan cooking has less taste and flavor than other foods than that just speaks to your own inability. Vegetables can stand on their own they don’t need all your duck blood on them, thank you. Also people tend to think vegans are emaciated self sacrificing, well tell that to my big ass jew hips."

"… the single most important activist thing we could do is invent a good vegan cheese. If someone’s receptive to veganism, but they don’t feel like they can do it, it always is, “But I love how this or that tastes!” And it seems like as much as they’ll agree with you about the ethical arguments, their own taste preferences win out."

"They say that black-eyed peas bring you luck when eaten on New Year's Day, and New Year's is also the time of year many people go vegan, so not only will you be lucky, so will the animals!"

"I'm so happy to be a part of this ... era of wonderful nonsense."

"When I listen to this rock and roll and look at you kids, I don't think it's a whole lot different than the Charleston and the Varsity Drag."

"I know when I was a kid, I used to look at these pictures and listen to the songs of the Gay Nineties, and I used to say to my mother, 'Oh, I wish I had lived then; it was so gay and so wonderful.' [...] Now [the Jazz Age] seems very mysterious and wonderful to you, kids, and when you have kids, they'll say, 'Gee, Dad, those 50's, they were something.' [...] I really think it goes in cycles. When your kids come in and say 'Gee, Dad, I wish we had done that,' and so on and so forth, it's the same thing. I don't think it's changed a great deal."

"I don't make drips [in her painting] purposely. This drip business is a pile of shit. If I see them, I take them out [of her painting] like cleaning the house."

"[Mitchell wanted in her painting].. the feeling in a line of poetry which makes it different from, a line of prose.. .Sentimentality is self-pity, your own swamp. Weeping in your own beer is not a feeling. It lacks dignity and hasn't an outside reference."

"I've have tried to take from everybody [every artist in American Abstract Expressionism ].. .I can't close my eyes or limit my experiences.. .Because I live now, I am more interested in art now. It's different as any art is different from period to period. But it's no better or worse."

"It's [the color white] death. It's hospitals. It's my terrible nurses. You can add in Melville, Moby Dick a chapter on white. White is absolute horror. It is just the worst. [quote c. 1957]"

"When I came back [from a temporary stay in Paris] and heard you play with Charles Mingus, and when you and Cecil Taylor [also a free Jazz musician] opened up the 'Five Spot' in the Fall of 1956, I felt better about being in New York. All the musicians who create from the gut as well as their intellect can change things. People will never understand what we are doing if they can't feel.. .All art is abstract. All music is abstract. But it's all real.. .When you improvise, I can see the seeds of a symphony you could write. When I first heard Charlie Parker in Chicago, I could see he was a symphony.. ..we were all trying to bring that spirit, that spontaneous energy, into our work. [talking to jazz-player David Anram in the jazz club the 'Five Spot', in 1956, she was visiting with Franz Kline ]."

"I'm trying to remember what I felt about a certain cypress tree and I feel if I remember it, it will last me quite a long life."

"Light is something very special. It has nothing to do with white. Either you see it or you don't. [George] de la Tour doesn't have light; Monet hasn't any light. Matisse, Goya, Chardin, Van Gogh, Sam Francis, Kline have it. But it has nothing to do with being the best painter at all."

"Pop Art, Op Art, Flop Art and Slop Art.. .I fall into the last two categories [her remark, in the mid 1970’s] ."

"It is quite a narrow studio [1970s], I can never see a big four-panel [panels she was working on the same time as parts of one tryptich] all at once.. ..I can see two big panels. That’s about all.. .I had an awful lot going on at once, going back and forth. I turn [canvases] to a wall (when I am not working on them). I cant paint with everything showing."

"And I came [to New York, 1945].. .It was just after the war and I thought it was a little early to get over there [to Europe]. So I spent the winter under the Brooklyn Bridge, on the Brooklyn side, living with Barney Rosset, and I came here [to New York] to study with Hofmann.. .And I went to Hofmann's class and I couldn't understand a word he said so I left, terrified. But he and I became friends later on. Friends, but I never studied with him.."

"And then the spring of [19]'48 I toddled off to Paris on a Liberty ship.. .Yes, and arriving in Le Havre on that Liberty ship and seeing all those—the sun was coming up—and seeing all those ships sunk.. It was hardly.. .I mean, war, war, war, war... .I went to Paris, and I stayed with Zuka and Louis [Mitelberg] [her husband then, the cartoonist 'Tim']. And I looked for a place—and found it on Rue Gallande. Across the river was Notre Dame. That was all of four dollars a month, with a hole on the stairs as a toilet and a spigot with cold water and one light-bulb. That was all the electricity there was. But this view, I mean, God!.. .Saint Julien le Pauvre [Greek Orthodox Church, oldest in Paris] was right in front of me. And so I painted there."

"Oh, early Kandinsky.. [stuck her early] .Well no, they had that at the Art Institute in Chicago, don't forget. See, everybody, to do 'modern art' then [New York, mid-forties], seemed to me, when you were going 'modern' [both chuckle], it was Picasso. I mean, everybody. But I avoided that like the plague. I thought.. .I loved Picasso, but it just wasn't for me.. .Well, I don't! I have some of those [early] paintings from LeLavandou - they're in storage - and from Mexico. They were Expressionist landscapes, or boats on the beach or something like that, which I still do. Sort of going abstract, going towards.."

"And the first studio I went to [in New York, c. 1950].. .I was trying to find de Kooning because he had a painting at the Whitney, which was in the old Studio School [Eighth Street], you know.. .And I thought I would like to know him. I really dug his painting, and I dug Gorky's painting.. .But the first studio I went into was Franz Kline.. .and there were all these Klines, unstretched, hanging on the brick walls. Beautiful. You know, with the telephone book drawings all over the floor, and Kline yakking away, and it was just, I was out of my mind! And so from then on I got involved in the Artists Club. They allowed very few women in, and I was included for $35 a year. And I got very involved in the Cedar Bar and the whole thing.."

"[being a woman in the Artists Club, there were] Elaine Elaine de Kooning, Mercedes Matter.. .Well May Rosenberg, but she wasn't a painter. Jane Freilicher. Nell Blaine.. .Well, there were Grace [ Grace Hartigan ] and Helen [ Helen Frankenthaler ], of course.. .How did I feel, like how? I felt, you know, when I was discouraged I wondered if really women couldn't paint, the way all the men said they [the women] couldn't paint. But then at other times I said, 'Fuck them,' you know. But I think the women were, some of them, more down on women than the men.. .I adulated the men so much they sort of liked me. I mean, I thought Bill [ Willem deKooning ] was a great painter. They liked me.. .Hans Hofmann was very supportive -of me. I used to run into him in the park. I'd be dog-walking at nine in the morning, he'd say, 'Mitchell, you should be painting.' Very nice. [both chuckle] I don't think women in any way were a threat to these men, so they could encourage the 'lady painter.'"

"I started in, got it [former Monet's house, where he lived 1878 - 1881 in Vetheuil; [Mitchell bought the house and used it mainly first in the weekends] in summer of 67, Yeah, well, and then I started.. .I was still painting at Fremicourt and I remember starting the 'Sunflowers' [series, c. 1969-72], which I saw in Vetheuil and painted them in Fremicourt, you see.. .The thing about [the studio in] Fremicourt, also about St. Marks: I had to roll [large] paintings to get them out, which was a real drag, because of thickness [of the paint which cracked]. And when I started painting in Vetheuil, you can just take the [stretched] paintings out [in open air]. Well, that really changed unconsciously an awful lot of.. .Walk them out stretched, it's great."

"I might get an idea [for the start of a painting] sitting looking at the river, or something, or a specific.. ..Yeess. I'm sure, yes, I'm sure it [the environment] influences me in terms of green and gray and color and.. .I mean, New York light is so different, and it always hits me when I come here [in New York], and it excites me to see great extremes of dark and light and no nuance - which I love. But there the Isle de France [round about Paris] has that, you know, filtered light that is that.. where even on a gray day, the green is very green, and the red is very red.. ..I think walking out barefoot and moving the paintings, being able to move them out of my studio [in Vetheuil] for transportation, things like that have had [influence].. .As well as the landscape. Lake Michigan was pretty important, you know."

"Well, I once wrote in - it's in Joan Mitchell Paints a Picture, as I remember, Irving Sandler, a long time ago, that I hated the word 'Nature' with a capital 'N.'.. .But now I accept it, I suppose. I mean, I really like trees and flowers and dogs and all that much more than.. ..a lot of other people [do].. .You know, I really do get pleasure out of.. .Great pleasure. Out of just looking at.. .But I have fun here [New York] too, you know."

"I've always been told that I was a painter's painter.. .What does that mean?.. .That painters like my painting and the big wide world overlooks it, I suppose?.. .Well, I know.. .To me, it would have meant that - this is pre this new rage in buying and selling paintings - that, I think, that the formal values, like light, space, color, all those things that a painting is made up of, as well as the Jacob going up the ladder or Venus on the half shell or something [chuckles] would be what interested the painter. And perhaps the public would want the picture of the Christ child, so to speak. You know what I mean."

"I'm not religious or anything like that. [But] a little more spiritual something or other.. .A little more 'feeling'. And there's my word again. You know?.. .And I find that.. ..[pauses], I find that uninspiring, and if I hung around too much I might find it very deadly. If I let it enter my studio. And it would be hard not to have it enter."

"I'm not so sure I could have done otherwise, but I wish I.. .I'm re-going to a French shrink now, and she's helped me a lot. I wish I'd gone sooner, because I think women are inclined more than men to be self-destructive, and I really think I had the masochistic medal there for a while, and I, you know, I want to, that I wish I had stopped. I think it's also very masochistic to sit and cry in my spilt Scotch for areas in my life that have been very creepy and that I should have cut, left sooner. So what's, that's, I feel sorry about that. But I'm getting to [me, be] perhaps more, oh, I don't know, trying to look at that in a more positive way. Maybe I got something out of that too, I don't know.. .Maybe. I mean.. .I feel also uncomfortable about staying in France, but then, if I could only make sort of a.., instead of saying negative, 'I'm too lazy to move,' a positive thing, 'I really like this house. I really like this view. I really like Paris better than New York' - or not better, or equally, or differently, or something, which is quite true - instead of sitting - which I can do, I used to do - and missing the country and missing New York, or missing France."

"That's where, I think, I changed for that 'Grande Vallée' subject [a large series of 'natural' paintings, Joan painted during 1982-83], which was really not a subject - the 'Grande Vallée' was a [wild vast] place where this Gisele Barreaux [composer] played with her cousin when they were children, and the cousin, aged 28, died of cancer. And she told me he said to her [when he was dying in 1982], 'If we could only return to the Grande Vallee once again,' as he was dying. I mean, that was what that was all about, so that was a subject of.. .You know, it was the summer my sister died - the same week - and we went to the Manet show. [in '82].. ..when I started the 'Grande Vallée'.. .And I was stuck on a subject, and I thought, 'This is very true and very simple,' and I thought, 'Shit, I'll paint the Grande Vallée for her.' And now, I got her to tell me about it, and it was green and blue, and it was just a vast sort of territory outside Nantes [in Brittany, France]. And so that's how I got started on that whole series."

"..he [ Samuel Beckett ] would pore for hours over the intricacies of the paint and the patterns. He liked her refusal to explain or justify her art, since it reflected his own inability and unwillingness to discuss his writings.. .She was the one person with whom he could drink, talk, relax, and her friendship became a crutch he leaned on heavily. [Paris, c. 1952 – 1956]"

"There are those fleeting moments, those almost 'supernatural states of soul', as Baudelaire call them, during which 'the profundity of life is entirely revealed in any scene, however ordinary, that presents itself for one. The scene becomes its symbol.' Miss Mitchel attempts to paint this sign, to recreate both the recalled landscape and the frame of mind she was in originally. Memory, as a storehouse of indelible images become her creative domain.. .The lack of yearning for any length of time causes an inquietude and despondency, a sedulous longing for the yearning. Miss Mitchell paints to reawaken this desire."

"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."

"Privacy is something that we maintain for the good of ourselves and others."

"To the masculine mind there appears to be something strangely exhilarating in the thought of a woman being abruptly torn from her home without sufficient time to put her wardrobe in order, and to all the men responsible for this voyage the most delightful feature apparently of the whole affair was the fact that I should be forced to get ready in five hours for a seventy-five days' voyage around the world."

"Even in my childhood my sympathy for the heroes in the fairy tales was always keenest at the moment when they waved their hands in farewell and turned their faces at last towards the magical adventures that stalked about impatiently awaiting their advent in the strange countries where their havens lay."

"It was well to have thus once really lived."

"The record of the race, hitherto accepted as the truth about ourselves, has been the story of facts and conditions as the male saw them – or wished to see them... No secret has been so well-kept as the secret of what women have thought about life."

"[Perhaps] the potency of fever, of drugs, of alcohol, or of mania may open up deeps of memory, of primordial memory, that are closed to the milder magic of sleep. The subtle poison in the grape may gnaw through the walls of Time and give the memory sight of those terrible days when we wallowed — nameless shapes — in the primaeval slime."

"No ruler is ever really dethroned by his subjects. No hand but his own ever takes the crown from his head... When he ceases to lead... the revolt which casts him from power is only the outward manifestation of his previous abdication."

"Firstly, because one suffers from being forced to dwell in a house steadily falling to decay; a trial to the housekeeper, arousing a sense of some innate incompetence that the beams of the building should sag, doors open difficultly, windows dim with the dust of time, the outer complexion of the house grow streaked and grey with the weathering of many seasons. There is a certain desperation in the realization that no repairs are possible... one braces one’s self to accept courageously the wrongs of time; to wear the lichens and mosses with silent gallantry."

"It's often said that with enough effort and determination you can do whatever you put your mind to. But saying those words and living them are different things, and my father has lived them. It's one of his defining qualities and I've seen it in action all of my life. Whatever he does, he gives his all and does it well. His desire for excellence is contagious. He possesses a unique gift for bringing that trait out in others, starting with those closest to him. He's always helped me be the best version of myself by encouragement and by example. He motivates me to work my hardest and to always stay true to who I am and what I believe. That's what he does: he draws out the talent and drive in people so that they can achieve their full potential. That's a great quality to have in a father and better yet in the president of the United States."

"As far too many know, it is the small, loving acts that help an enormous amount in times of grief. My father is good with advice, as you might guess, but he keeps it short, and the takeaway is usually the same: to help us find our own way, and our own gifts. If you do what you love, hold nothing back, and never let fear of failure get in the way, then you've pretty much figured out the Trump formula."

"Organizational design often focuses on structural alternatives such as matrix, decentralization, and divisionalization. However, control variables (e.g., reward structures, task characteristics, and information systems) offer a more flexible approach. The purpose of this paper is to explore these control variables for organizational design. This is accomplished by integration and testing of two perspectives, organization theory and economics, notably agency theory. The resulting hypotheses link task characteristics, information systems, and business uncertainty to behavior vs. outcome based control strategy. These hypothesized linkages are examined empirically in a field study of the compensation practices for retail salespeople in 54 stores. The findings are that task programmability is strongly related to the choice of compensation package. The amount of behavioral measurement, the cost of measuring outcomes, and the uncertainty of the business also affect compensation. The findings have management implications for the design of compensation and reward packages, performance evaluation systems, and control systems, in general. Such systems should explicitly consider the task, the information system in place to measure performance, and the riskiness of the business. More programmed tasks require behavior based controls while less programmed tasks require more elaborate information systems or outcome based controls."

"Recent organizational approaches to control (e.g., Ouchi 1979) suggest two underlying control strategies. On the one hand, control can be accomplished through performance evaluation. Performance evaluation refers to the cybernetic process of monitoring and rewarding performance. This strategy emphasizes the information aspects of control. Namely, to what degree can the various aspects of performance be assessed? Alternatively, control can be achieved by minimizing the divergence of preferences among organizational members. That is, members cooperate in the achievement of organizational goals because the members understand and have internalized these goals. This strategy emphasizes people policies such as selection, training, and socialization."

"Agency theory is an important, yet controversial, theory. This paper reviews agency theory, its contributions to organization theory, and the extant empirical work and develops testable propositions. The conclusions are that agency theory (a) offers unique insight into information systems, outcome uncertainty, incentives, and risk and (b) is an empirically valid perspective, particularly when coupled with complementary perspectives. The principal recommendation is to incorporate an agency perspective in studies of the many problems having a cooperative structure."

"We struggle to manage complexity every day. We follow intricate diets to lose weight, juggle multiple remotes to operate our home entertainment systems, face proliferating data at the office, and hack through thickets of regulation at tax time. But complexity isn’t destiny. Sull and Eisenhardt argue there’s a better way: By developing a few simple yet effective rules, you can tackle even the most complex problems."

"Then he tries to kiss me again. And the second time he tries to kiss me he starts biting my lip … He starts to, um, bite on my top lip and I tried to pull away from him. And then he forces me down on the bed. And I just was very frightened, and I tried to get away from him and I told him ‘No,’ that I didn’t want this to happen but he wouldn’t listen to me. … It was a real panicky, panicky situation. I was even to the point where I was getting very noisy, you know, yelling to ‘Please stop.’ And that’s when he pressed down on my right shoulder and he would bite my lip. … When everything was over with, he got up and straightened himself, and I was crying at the moment and he walks to the door, and calmly puts on his sunglasses. And before he goes out the door he says ‘You better get some ice on that.’ And he turned and went out the door"

"They don't need me to be another Establishment designer. That's not what I'm good at..."

"With the way that the times are, we're all looking for a little fantasy... Fantasy is such an important part of my fashion..."

"I'm always about optimism and exuberance. It's what I feel about fashion."

"We manipulate fabric."

"Longing and desire goes further than instant satisfaction. That's human nature."

"The sexiest thing about a bikini is that it leaves something to the imagination, which is the best part."

"You have to focus on your dreams, even if they go beyond common sense. How could this young girl from the suburbs of Detroit become a success in New York? It was always that dream."

"Every time that I wanted to give up, if I saw an interesting textile, print what ever, suddenly I would see a collection."

"To stand out in the crowd I liked the color purple."

"I read about two young ladies that went to Parsons, and when they graduated Elizabeth Taylor opened a store for them in Paris and I thought okay-that's all I have to do!"

"I think a dream can take you farther than anything."

"I think that I appeal to the girliness in all of us."

"The man that owned the company that I worked for called me into the office and said how can you be on our payroll and have your own New York Times ad! This has to stop! And I said but it can't I have orders to ship. And he said well you're fired. And that's how I started my business."

"I'm still dreaming."

"You have to be in the right place at the right time and understand that and know when it is your time and how you react to it and how you respond to it."

"I love research. I love learning..."

"To me, fashion is like a mirror... It's a reflection of the times. And if it doesn't reflect the times, it's not fashion. Because people aren't gonna be wearing it."

"I think whenever people talk about the 'Anna Sui woman,' they're talking about someone that's probably kind of more downtown, and there's always like this ambiguity: Is she a good girl, or a bad girl?"

""It's kind of a dream come true, because to me fashion is not just the clothes, it's all the accoutrements that go with it..."

"I live for fashion."

"I love the whole story of why something happened when it did and that’s what I put into the collections."

"I don’t answer to anyone."

"We do all the first samples here and all the production in the garment center, within these few blocks... I love the process."

"... I am a New York designer and the things are made in New York..."

"I grew up in Middle America and in the suburbs..."

"American television is popular everywhere and its what I grew up on."

"Be true to yourself and figure out what it is that you are good at."

"I was always attracted to the way rock stars dressed and the way their girlfriends dressed."

"When I am designing, I make a selection of music that will be the inspiration behind the whole collection... I will be blasting that music—it becomes a journey I take in my brain to transfer that sound to the clothing."

"I love history. I love art. I like to mix it all together, but in the end it somehow has to all make sense."

"I had a really typical, suburban, middle-class upbringing. The only thing out of the ordinary was being one of the few Chinese families in town."

"I am inspired by New York..."

"My main goal when I started my collection – and I didn’t think beyond this actually – was that I wanted to dress rock stars and the people that go to rock concerts."

"We picked up Madonna at The Ritz to go to the Gaultier show together, and she took off her coat. At this point she hadn’t even said a word to me, but she leaned over and said to me, Anna, I have a surprise for you, and she showed me she was wearing my dress."

"I’ve known a lot of talented people but the people that really, really, achieve success – there is ambition, focus and drive behind it."

"I bought a fur coat with my first pay cheque and it lived better than I did for years."

"People create their own obstacles."

"...all the formulas have flown out of the window."

"Sui's gleeful eye sees poetry where fashion conformists see only the absurd."

"The lynchpin of her unique career is encyclopedic curiosity as much as commercial acumen, studied process and a deep respect for the techniques and traditions of her craft."

"Anna Sui is synonymous with black, white and purple..."

"Anna Sui is one of the most important and influential American designers of the past twenty-five years."

"Anna Sui helped define the look of Generation X."

"...a woman who’s been nothing less than American fashion’s best storyteller for nearly three decades."

"When I think of her, I think of Mick Jagger. Jimi Hendrix. Heart. Stevie Nicks."

"Before eclecticism and the magpie mix were fashion world buzzwords, there was Anna Sui."

"She used to be a stylist... and I think that really sharpened her eye, she knows how to tell a story with clothes."

"What stayed true about Anna was this wide eyed wonder, she's always been able to bring such beauty into what she does. I feel like an Anna Sui show is an education."

"It's almost as though she's making one long movie and this movie jumps through times and places but the central character stays the same kind of girl."

"It doesn’t do a critic well to try to neatly connect the dots between Sui’s inspirations and her clothing—the way she mashes up her many references is a singular skill that seems innate and above logical explanation."

"Sui has never failed to stage a fantastical runway show..."

"She’s... been a champion for the Garment District, raised money for the Bowery Mission, and made concerted efforts to help the victims of global tragedies—which is to say that she’s a kind person, who, it was agreed upon in a car after the show with other journalists, happens to also be one of the nicest people in fashion."

"She really is one of our best."

"The standard four food groups are based on American agricultural lobbies. Why do we have a milk group? Because we have a National Dairy Council. Why do we have a meat group? Because we have an extremely powerful [meat lobby]."

"There's no question that largely vegetarian diets are as healthy as you can get. The evidence is so strong and overwhelming and produced over such a long period of time that it's no longer debatable."

"My job was to manage the editorial production of the first—and as yet only—Surgeon General's Report on Nutrition and Health … My first day on the job, I was given the rules: No matter what the research indicated, the report could not recommend “eat less meat” as a way to reduce intake of saturated fat, nor could it suggest restrictions on intake of any other category of food. In the industry-friendly climate of the Reagan administration, the producers of foods that might be affected by such advice would complain to their beneficiaries in Congress, and the report would never be published."

"Since I'm old, instead of taking the booing, I want to tell you, I'm doing the very best I can. I mean, If you're a real fan, you know that I'm not just like my job is not to sign autographs, right? My job is to drive a car and to tell the crew chief what's going on. I don't appreciate the booing... It hurts my feelings. I'm a fucking person; you know what I mean? I'm a person, too. I have feelings. When you boo me, it hurts my feelings. Please just be supportive fans. I'll do everything I can. When I came from over here, my car was over there. I can only do so much. I have to get in the car. So please understand that."

"Our mission is to advance a Culture of Life where everyone is welcomed in life and defended in law. Our objectives to that end are to reverse Roe and defeat Planned Parenthood. I believe both of these goals are achievable in our lifetime if we remain committed, focused, optimistic and strategic. Although of course, in the end, the battle is not ours -- our duty is to remain faithful to the calling before us. As you rightly say, we have to oppose the lie... and the best weapon in that effort is the light of truth."

"I want to offer a little ode to the importance of studying history. We’ve seen the assertion of “alternative facts” – meaning, essentially, a denial of actual facts. We’ve see the proliferation of “fake news,” along with the suggestion that it’s impossible to differentiate between “real” and “fake” news. Studying history responsibly does some handy things. It compels you to confront and consider ugly realities as part of a bigger picture. Studying history compels you to investigate, evaluate, compare, and analyze evidence to help you piece together ACTUAL facts. And in teaching people to evaluate evidence in search of facts, it trains them to logically analyze and interpret news for themselves. [F]or those insisting that the humanities has no value, we are getting daily examples of how the study of history offers practical tools for understanding not only the past, but the present."

"If you don't know your history, you don't know who you are. Holds true for nations too."

"I’ve stayed interested in Hamilton not because he was a standard-issue hero, but because of his complications; he was self-destructive, had a highly problematic personality, and was often extreme in his politics. I don’t like hero history. It does the study of history a disservice on a thousand different levels. It’s far more interesting to study complicated people and the history they helped to shape."

"[After becoming a vegetarian] My digestion is better, my thinking is better, and I'm calmer, stronger, and lighter. It's also easier to make weight. I'm not cutting calories though. Last month I went completely vegan, I don't eat anything with a heartbeat."

"Animal products have no place in a healthy diet. As a champion boxer, I need to keep my body in top physical shape. Since I've stopped eating meat, I'm stronger, faster, and... happier! My whole life is better."

"Armed? Well, yes; I am. I have a dressing bag, a portfolio and an umbrella. I don't believe I could do much damage with these. Do I look like a Carrie Nation to you?"

"One of the issues with animals that I'm really concerned about is people who get animals as pets and maybe aren't prepared to take care of them and haven't really thought it through. I've seen a lot of people I know who get dogs and they can't handle them two days later … [Fur] is a really easy thing to avoid, you don't need fur and if you want the look of fur, I mean, there’s faux fur. There's just no reason for it. I just make a point of telling people that I don't buy products that are fur … I have a fragrance line and one of the things I really love about is the manufacturer assured me that nothing's tested on animals … I mean, how many years have we been selling cosmetics in this country? We should be able to figure out what we can use on humans safely and what no."

"O how wild I am to get to work, my fingers farely itch & my eyes water to see a fine picture again."

"I have given up my studio & torn up my father's portrait, & have not touched a brush for six weeks nor ever will again until I see some prospect of getting back to Europe. I am very anxious to go out west next fall & get some employment, but I have not yet decided where."

"I used to go and flatten my nose against that window and absorb all I could of his [Degas'] art. It changed my life. I saw art then as I wanted to see it."

"..we [the Impressionists ] are carrying on a despairing fight & need all our forces."

"If you [[w:Ambroise Vollard|[Vollard] ]] should ever happen to find that picture ['Milliners's workshop'] by Edgar Degas I know an American who will pay any price for it."

"..crushed by the strength of this Art [the old Egyptian art].. .I fought against it but it conquered, it is surely the greatest Art the past has left us.. ..how are my feeble hands to ever paint the effect on me."

"..Mary Cassatt, sister of Mr. Cassatt, President of the Pennsylvania Railroad, who has been studying painting in France and owns the smallest Pekingese dog in the world."

"this fantastic work called Young Mother Sewing by Mary Cassatt."

"It is absolutely necessary, while what I saw yesterday at Miss Cassatt's is still fresh in mind, to tell you [Lucien, his son] about the colored engravings she is to show at Durand-Ruel's at the same time as I. We open Saturday.. .You remember the effects you strove for at Eragny? Well, Miss Cassatt has realized just such effects, and admirably: the tone even, subtle, delicate, without stains on seams: adorable blues, fresh rose, etc."

"M. Degas and Mlle. Cassatt are, nevertheless, the only artists who distinguish themselves.. ..and who offer some attraction and some excuse in the pretentious show of window dressing and infantile daubing."

"She [Mary Cassatt] has infinite talent. I remember the time we started a little magazine called 'Le Jour et La Nuit' together. I was very much interested in processes then, and had made countless experiments [in printing; Degas mainly mono-type - Mary Cassatt mainly etchings].. .You can get extraordinary results with copper; but the trouble is that there are never enough buyers to encourage you to go on with it."

"I always felt tired when I used to eat meat—I got sick of that. Also, I wanted to start a serious training/nutritional program for my surfing competitions. I tried it out (not eating meat) and loved it—I felt so healthy and energetic. I’ve never looked back since! … I believe those (meat) companies … should just think of their pets—if they would like their pets treated like that—and then ask them if they want to continue doing that. … Definitely I want to become a world champion surfer one day, but more importantly, being a good role model for kids and promoting a clean lifestyle."

"It is always impossible—he was conscious again with that strange clarity of mind—for a man to face his own death honestly. A man always continues to believe to the last moment of his life that something will intervene to save him."

"Only darkness could not be held off by the will of men."

"And the opposite of dreams are facts!"

"They’re females right enough, and they can make the impossible happen. I’d say that classifies them as witches."

"Their tribal system is strictly matriarchal, which follows a pattern even Terra once knew: the fertile earth mother and her priestesses, who became the witches when the gods overruled the goddesses."

"You can’t play the role of thug all over the galaxy and not store up in the subconscious a fine line of private fears and remembered enemies."

"Treasure! That word, which had always been so exciting, meant something different now. Fafnir had taken the treasure and turned from man into monster because of his greed for it. Mimir, who had been Sigurd’s master and good friend—when the treasure had lain before him, he, too, became a monster, in another way. Then Sigurd had made his choice, to leave the evil, and so he had gone away a hero."

"There was a saying of the peasants—the rat cannot call the cat to account. But it was also true that if the moon moves but slowly, still it crosses the city."

"He was listening, too, for it is through the eyes and ears that one learns. A spiderweb of facts can tie up the lion of action; not to know is bad; not to strive to know is worse."

"Stout men, not stout walls, make a well-held city."

"Jade and men are both shaped by harsh tools; be not unaware of sudden changes of fortune."

"Does mud care which cloak it bespatters?"

"A foot of jade is of no value, an inch of time is to be prized."

"From a gabled roof the rolling melon has two choices of descent, though both lead to disaster."

"Each man follows the path of destiny, but no two paths are alike. It seems that mine now runs into a place of evil intent, wasted wisdom, and stupidity."

"Well, we don't know a lot, and most people don't want to learn more’n what's right before their eyes. You point out things that don’t fit into what they've always accepted, and they say it’s all your imagination and nothing like that is real."

"Mrs. Clapp was some distance away, Jeremiah’s trophy laid across one knee, stroking the cat’s head and telling him what a brave, smart boy he was. Jeremiah accepted this praise complacently, with a feline’s estimate of his own worth."

"And life in a continual state of apprehension was no life at all."

"For a great leader, colleague, friend, or parent to be his best, he has to acknowledge his worst. Throughout my life I've met plenty of superheroes, but the strongest and most effective among them were simply human and knew they weren't perfect. They were the men and women who, like my father, believed in their duty to country and sacrificed for others without hesitation. They all had their strengths and weaknesses. They excelled at times; they stumbled at times. But the great ones always made sure they could walk tall by recognizing their own enemy within and confronting it."

"Today, particularly in terms of combating terrorism, there are no front lines. Cities and neighborhoods are the battlefields. September 11 was a harsh reminder of this new reality."

"Will you encourage your workers to be innovative, or will you promote an environment where the status quo is good enough? Do you have mechanisms to allow all employees to voice opinions and provide feedback without fear of retaliation? Are you accessible, or are you insulated from your people? Good leaders motivate by being seen, by communicating, by engaging, and by taking care of their employees."

"If you don't know where you're going, any road will take you there."

"As a military professional, I knew that the most important element is trust- the vision had to be built on trust. The very basis for why soldiers fight the way they do is the trust they have in their teammates, their fellow soldiers. It's usually less dramatic off the battlefield but still equally important. Without trust in each other and trust in the institution, you will not be able to realize your vision."

"For the vision to be taken seriously, the destination- or the goal- has to be attainable. It's your vision, so you need to determine the timing. With your destination in focus, you need to describe who you are, what you do, and how you are going to get there."

"I have to laugh when people ask, "How's retired life?" I'm as busy as I've ever been, except now I make my own schedule. I see my husband every day. I finally get to spend regular quality time with family and friends. I no longer miss milestone events such as baby showers, birthdays, graduations, and weddings. I wrote this book. I started a consulting company, First 2 Four, LLC. I serve on multiple boards. I even continue to give speeches at universities and corporate gatherings, despite my continued fear of public speaking. But nothing- absolutely nothing- can replace the pride and purpose of being a soldier."

"Not everyone is cut out for the military, but I do believe everyone can and should have the opportunity to participate in a national service endeavor of their choce. Serving in the military can make you a better citizen, employee, and leader. The military provides hands-on experience. It provides leadership training and builds a foundation for a strong work ethic. Corporate America has taken notice and regularly recruits soldiers just as it does Ivy League students."

"General Ann Dunwoody is the former commanding general of one of the Army's largest commands, the US Army Material Command. She is the first woman in US military history to achieve the rank of four-star general. Now retired, she offers strategic insights to companies and corporate boards."

"In the military it is said that you can often fool your boss, you can sometimes fool your peers, but you cannot fool your soldiers. General Dunwoody commanded the trust and service of her soldiers, not as a function of her rank or position, but rather as a function of her mastery of her profession and her willingness to always place the needs of the soldier first."

"In this book, Ann Dunwoody writes, "A hero is an average person who has done something extraordinary. As unusual as it is to start a foreword for a book by disagreeing with its author, I have to say that I disagree with Ann. I do not believe anyone would ever describe Ann as an average person. She has certainly done many extraordinary things. And to me, she is a true hero."

"I concluded my book Lean In with my hope that "in the future, there will be no female leaders. There will just be leaders." I did not know Ann when I wrote that, but she is exactly who I had in mind. What distinguishes Ann is not that she's a woman, but that she is a spectacular and inspiring leader."

"My admiration for Ann is boundless- not just because of what she achieved but how she achieved it. Ann's story is the story of a true soldier. She ends every talk with this: "In the end we're all just soldiers, but that's the highest thing you could claim to be." Her story- and this book- will inspire anyone who wants to serve and lead."

"The rhetoric [during the 2016 presidential election] that was used to describe women really enraged me, and just kind of brought me back to those feelings of when I was younger. I was told I needed to "sit properly," and I need to "speak less" and "smile more" and "lose weight" and just be this perfect little girl."

"When I first released the song [Quiet], I put on my site like, "I'm a survivor of abuse and anorexia and this is my song in response to it." And so when the song went viral, it became "the anti-Trump song," it was like a really political thing. And I'm so glad I stuck to the truth...I was like I'm not going to try to please others and say, oh yeah, this is not political. I just stuck with what it really was, my truth."

"I was put on a diet when I was 10. My mother said that women with smaller mouths are attractive, so keep my mouth small, don't talk or laugh so loud. I was taught to observe and listen. I burnt time burning calories when I could have been thinking about other things."

"For me to deal with my own anxieties about it and my friends' anxieties, I can create art. That's how I feel better about things... ["Quiet"] was just a way of giving people some space to feel love and hope in this time of fear mongering."

"[It is] so important for women of color to have a voice, because we have been living in a paradigm where women of color, and men of color, and all genders in-between color — our voices have not been as quote-unquote "valuable." That is a problem because that creates a sense of not belonging, and invisibility. I felt so voiceless, and like I didn't matter. Like I was an inconvenience of space because I didn't look like the woman in the magazine or I didn't have the same upbringing as the people I was watching on television. But now that women of color are rising...a lot of women of color are bearing a lot of responsibility of healing their cultures, and there's a way that women are able to empathize deeply, and they are able to express things that can maybe help the mainstream culture understand. Because I think the more we tell different types of stories, the more tolerance there will be."

"The message that really pisses me off is like, "Well, women in the Middle East are getting their genitalia cut, so you should just shut up." That is completely wrong. The point is we're not all truly free until we're all free, and the women who have mouthpieces need to speak up for the women in other places, and for men too."

"I'm not a man-hater. (I am) so used to being treated like dirt that I guess it's become a way of life. I'm a decent person."

"With Tyria I was going to begin. But she always spent my bread that I’d make. and I never had a chance to. So the next day I’d go out and make more. It was so easy to. And big bucks. All the bars, fancy night clubs, and restaurants we’d hit. As well as her buying clothes for herself. I had one beat up bra, a few pair of underwear—recked tennis shoes. 3 pairs of pants and 5 T-shirts to my name. She had gobs of clothes. I couldn't help it. I was insanely in love with her. And just wanted her to have it all. I was her puppet."

"Let me tell you what can happen in a rape. Your hair gets pulled out, he shoves his penis fully erected down your throat and bruises your esophagus, as well as the roof and sides of the (inside cheeks) of your mouth... Also telling you, if you scratch my cock with your teeth, your dead. Then he pulls your pussy hairs out, for additional pain, grabs your ass real hard like (kneading dough) as he’s cramming his cock in you, same thing in anal screwing. Bites nipples, to also, nearly cutting em off as he’s screwing you viciously, pounding as fast and as hard as he can... And also while all this is going on, threats are being made, and dirty talk at the most provocativeness profanity you could imagine. So rape is not just get on and get off.! Stupid fuckers. Society apparently doesn't understand this, nor cares to, especially if you’re a hooker. There allowed to treat you like this, and also kill you..."

"I still love her. Can’t let her go! She could shoot me, and if I survived it. I woulda had open arms, still, with lots of love to give. That’s Just the way I am. I Love to give Love. I know I’ve hurt, myself over being this away. But the pain, doesn’t feel, so bad, when you know your struggling to give love, for a cause that really pays off. I know for a fact. Ty and I would've stayed together for life. If this Shit hadda never of happened. She told me on the phone, in one of the recorded phone calls at VCBJ. Lord did I cry on that phone. Cut me up like a machete attack to the heart. Arlene, wants to keep her away from my funeral. I want Tyria at my funeral more then Anything."

"Technique without art is shallow and doomed. Art without technique is insulting."

"There have certainly been challenges throughout my career, but instead of looking at them as drawbacks, I look at them as opportunities and blessings."

"It is very important to be selective about who you choose to surround yourself with, because no one accomplishes anything on their own."

"I also believe in the value of excellence and bringing your best self. My father used to tell me if you’re going to do something, be the best at it."

"What I enjoy most about being an entrepreneur is making a difference. By building a business we create jobs, pay taxes, and build families and communities."

"I’ve never considered being a woman or a Latina to be an obstacle. In fact, I usually consider it to be quite an asset, in part due to the incredible entrepreneurial culture of the Hispanic community in general and my family in particular."

"It’s easy to only look forward when you move to the United States, but I believe it’s vital to look back and remember your roots, to remember where you came from."

"I was the second woman to hold that position in a thirty-year period—and that wasn’t acceptable to me. Clearly, there wasn’t enough awareness of the contributions women can bring to organizations and the economy."

"There is nothing more powerful than the silent example."

"Education is a journey — and getting your degree doesn’t mean you’ve finished learning."

"Historically, working-class women and women of color have been excluded from intellectual work. This exclusion must be challenged. Working-class women, women of color, and other historically silenced women must be enabled to participate as subjects as well as objects in feminist theorizing."

"Any time you get somebody marching in the streets, it's catering to revolution. It started with the colored people in the South. Now other groups are taking to the streets. We could have worked out the integration battle without allowing them to march. My family worked for everything we had. We even have a deed from the King of England for property in South Carolina. Now these jerks come along and try to give it to the Communists."

"For 20 years, there has been no discipline of children. You don't inhibit them even if they are threatening to break up the whole house. Now we are reaping the results. Margaret Mead caused a lot of the trouble. She advocates taking drugs and early marriages. She and those other spooks just want to get their names in the paper. A few years ago, if you did something wrong, you were sent to the principal's office. Today the Roman Catholic schools are about the only ones that have discipline."

"It's quite a comedown in many ways. We're not living on the same means that we had in Rye, N.Y. I had to sell my stock, and now we are having to dip into the till. I think the Government should give us free housing. We'll be happy to go back and make some money."

"I wanted to go into dramatics and become an actress, but my mother wouldn't let me."

"Any woman who tries to influence a man in subtle ways is a fool. Every woman should influence her man, but she should do it as a full and open partner—and not in some secret fashion."

"That isn't the issue. What the women in this country should be interested in and are getting interested in is to be treated on the same intellectual plane as the men. Once they are accepted on that basis, their equal rights will follow freely. After that we can go back to "Vive la difference!""

"Let it be known that any irregularities in my mental stability have been brought upon me by outside forces...namely the administration of King Richard Milhous Nixon. And some inside forces as well, I suppose; my husband, that gutless, despicable crook, John Newton Mitchell."

"I never would have been in a predicament like I am if I hadn't...left the South."

"I don't believe in that "no comment" business. I always have a comment."

"The most vocal of all the Cabinet members' wives, Mrs. Mitchell does not hesitate to offer her tart views."

"When Martha Mitchell's runaway tongue provoked demands that Husband John silence her (TIME, Dec. 5), the Attorney General responded with the bemused suggestion that she speak henceforth in Swahili."

"World War I had its Sergeant York; World War II, George Patton. But we have a much more dangerous fighter in our battle with the left, and she is even sometimes dangerous to the other sie."

"Martha-isms such as "Anytime you get somebody marching in the streets, it's catering to revolution," and "Adults like to be led. They would rather respond to a form of discipline" have made her a pillar of rectitude and moral resurgence to much of conservative America, a figure of ridicule to liberals and a public embarrassment to many a traditionalist Republican."

"Any time while I was a slave, if one minute's freedom had been offered to me, and I had been told that I must die at the end of that minute, I would have taken it—just to stand one minute on God's earth a free woman—I would."

"When I was 14, I learned what transgender meant and cried of happiness. After 10 years of confusion I finally understood who I was. I immediately told my mom, and she reacted extremely negatively, telling me that it was a phase, that I would never truly be a girl, that God doesn't make mistakes, that I am wrong. If you are reading this, parents, please don't tell this to your kids. Even if you are Christian or are against transgender people don't ever say that to someone, especially your kid. That won't do anything but make them hate them self. That's exactly what it did to me."

"I have to say that I think I probably took the library for granted, because my father had been taking me since before I could walk, probably. For him, as an immigrant from a country that had been through a couple of very devastating wars, where libraries were not a real high priority, the libraries in this country were a miracle. He just couldn't believe it. He was 19 years old when he went into his first public library ever, and if you think about it, it's a very bizarre concept: "I can walk in and take whatever I want?"…"

"I want all my books to provoke some kind of response in the reader, to make them think something or feel something or both, and for that to become a part of them and work into their own lives. So I do not expect readers to march off to Africa and start doing good works. But maybe one reader will think about Salva when they’re going through their own tough time. Or maybe another reader will think, well, I can’t go off to Africa and drill wells but I can make my corner of the world a tiny bit better. So different people will hopefully get different things. But I think that his story can transcend so many boundaries, cultural and time, and especially because it’s all written around water. You can’t get more of a human universal than water."

"I think stories are forever…[But] the way we get stories has changed. This might be an ostrich-in-the-sand kind of thing, but I still see my job as producing the best story I possibly can."

"One step at a time, one day at a time, just today, just this day to get through."

"Reading for writers is like training for athletes."

"If he were older and stronger, would he have given water to those men? Or would he, like most of the group, have kept his water for himself?"

"He was floating with his head down, blood streaming from a bullet hole in the back of his neck."

"Quitting leads to much less happiness in life than perseverance and hope."

"How could memories feel so close and so far away at the same time?"

"More than twelve hundred boys arrived safely. It took them a year and a half."

"Salva shouldered his way through the crowd until he was standing in front of the list. He raised his head slowly and began reading through the names. There it was. Salva Dut—Rochester, New York. Salva was going to New York. He was going to America!"

"Stay calm when things are hard or not going right with you. You will get through it when you persevere instead of quitting."

"Her sickness came from the water,” the nurse explained. “She should drink only good clean water. If the water is dirty, you should boil it for a count of two hundred before she drinks"

"The bag sprang a leak. The leak had to be patched. The patch sprang a leak. The crew patched the patch. Then the bag sprang another leak. The drilling could not go on."

"They patched the bag again. The drilling went on."

"To young people, I would like to say: Stay calm when things are hard or not going right with you. You will get through it when you persevere instead of quitting. Quitting leads to much less happiness in life than perseverance and hope. Salva Dut Rochester, New York 2010"

"And one day at a time, the group made its way to Kenya. More than twelve hundred boys arrived safely. It took them a year and a half."

"Stay calm when things are hard or not going right with you. You will get through it when you persevere instead of quitting. Quitting leads to much less happiness in life than perseverance and hope."

"And she found her voice. "Thank you," she said, and looked up at him bravely. "Thank you for bringing the water."

"know much about him, except that his name was Buksa. As they walked along, Buksa slowed down. Salva wondered sluggishly if they shouldn’t try to keep up a bit better. Just then Buksa stopped walking. Salva stopped, too. But he was too weak and hungry to ask why they were standing still. Buksa cocked his head and furrowed his brow, listening. They stood motionless for several moments. Salva could hear the noise of the rest of the group ahead of them, a few faint voices, birds calling somewhere in the trees. . . . He strained his ears. What was it? Jet planes? Bombs? Was the gunfire getting closer, instead of farther away? Salva’s fear began to grow until it was even stronger than his hunger. Then— “Ah.” A slow smile spread over Buksa’s face. “There. You hear?” Salva frowned and shook his head."

"There was a big lake three days’ walk from Nya’s village. Every year when the rains stopped and the pond near the village dried up, Nya’s family moved from their home to a camp near the big lake. Nya’s family did not live by the lake all year round because of the fighting. Her tribe, the Nuer, often fought with the rival Dinka tribe over the land surrounding the lake. Men and boys were hurt and even killed when the two groups clashed. So Nya and the rest of her village lived at the lake only during the five months of the dry season, when both tribes were so busy struggling for survival that the fighting occurred far less often."

"Yes, there it is again. Come!” Buksa began walking very quickly. Salva struggled to keep up. Twice Buksa paused to listen, then kept going even faster. “What—” Salva started to ask. Buksa stopped abruptly in front of a very large tree. “Yes!” he said. “Now go call the others!” By now Salva had caught the feeling of excitement. “But what shall I tell them?” “The bird. The one I was listening to. He led me right here.” Buksa’s smile was even bigger now. “You see that?” He pointed up at the branches of the tree. “Beehive. A fine, large one.” Salva hurried off to call the rest of the group. He had heard of this, that the Jur-chol could follow the call of the bird called the honey guide! But he had never seen it done before. Honey! This night, they would feast."

"Stands of stunted trees. There was little to eat: a few fruits here and there, always either unripe or worm-rotten. Salva’s peanuts were gone by the end of the third day. After about a week, they were joined by more people—another group of Dinka and several members of a tribe called the Jur-chol. Men and women, boys and girls, old and young, walking, walking. . . . Walking to nowhere. Salva had never been so hungry. He stumbled along, somehow moving one foot ahead of the other, not noticing the ground he walked on or the forest around him or the light in the sky. Nothing was real except his hunger, once a hollow in his stomach but now a deep buzzing pain in every part of him. Usually he walked among the Dinka, but today, shuffling along in a daze, he found he had fallen a little behind. Walking next to him was a young man from the Jur-chol. Salva didn’t"

"The first day in the desert felt like the longest day Salva had ever lived through. The sun was relentless and eternal: …show more content. Even breathing became an effort: Every breath Salva took seemed to drain strength rather than restore it."

"My natural default-setting is the certainty that situations like this are really all about me, about my hungriness and my fatigue and my desire to just get home, and it's going to seem, for all the world, like everybody else is just in my way, and who are all these people in my way?"

"My mission is about reminding us of how much we all have in common and that the experiences and history of people of african descent in this country is not ‘African American History,’ it’s American History. The experiences African Americans have had, for example in the Great Migration is similar to those that other people have had. It’s a way to bridge the gulf in how people see themselves compared to others – which is the source of all divisions – you don’t see yourself in someone else, you have no empathy for someone else whose experience is different from yours…"

"My parents absolutely did not think of themselves as part of the Great Migration. They knew they were part of a great wave. No one really talked about it in those terms or gave it a name. I grew up surrounded by people who were from North Carolina, South Carolina, Georgia -- all around me. My parents' friends were all from there. They socialized with people from there. They were quite ambitious and competitive among themselves, bragging about that they were going to put their child through Catholic school because that was going to give them a better chance at succeeding…"

"Some of these things seem as if it’s a lot of hard work, and it is. But it’s to an end—toward a richer, deeper understanding of a phenomenon that I was seeking to bring to life…The term narrative comes from Greek for the word knowing. And I think that that’s a powerful message because it means you cannot tell a story until you know the story."

"On the one hand, Wilkerson is very concerned about dehumanizing any group because it is then easy to harm individuals within that group solely because of them belonging to it. But she needs to know that her work plays into the hands of those very forces that are dehumanizing Hindus. This is happening rapidly and turning Hindus into a defenseless people that do not deserve to be treated fairly because of allegations that they are predators and oppressors. She disapproves of people becoming slaves to group think and yet, group thinking against Hinduism is precisely what her work is causing. She is also against the use of oppression to assert control but does not address that the academic harassment of Hindus on campuses is actually a form of that very oppression."

"(I recommend over and over again:) The Warmth of Other Suns by Isabel Wilkerson. I am far from the first to recommend this book but that is because it’s so extraordinary. A pure masterclass of narrative nonfiction that exists at the pinnacle of the genre. It is the book that a historical phenomenon as important as The Great Migration deserves."

"In the United States we have two competing mythologies about immigration. On the one hand, we believe that different kinds of races make up an American person. On the other, a deep nativist strain keeps resurfacing. Nevertheless, there has also been strong resistance to nativism. Frederick Douglass, for instance, called the United States a “composite nation” when he argued against the Chinese Exclusion Act [of 1882]."

"Political novels can be boring to read unless written effectively with the powerful tools of fiction; I was trying to do this. I want my books to be pleasurable and edifying. Though Frederick Douglass didn’t write fiction, his speeches have great narrative power because he integrates storytelling tools elegantly with his political analysis."

"“History has failed us, but no matter” serves as my thesis statement. I believe history has failed almost everybody who is ordinary in the world, not just the Korean-Japanese, who are the subject of Pachinko. I am also arguing that the discipline of history has failed. It is not that historians aren’t doing their jobs but rather that the memory of history has been reconstructed by the elite, because the overwhelming majority of ordinary people rarely leave sufficient primary documents; they do not have others recording their lives in real time. The phrase “but no matter” is a statement of defiance. It doesn’t matter that history has failed us because ordinary people have persisted anyway. This idea gives me an enormous amount of strength and hope as a writer because I am an ordinary person. Those of us who may be women of color, immigrants, or working class aren’t often meant to be people who write novels about ideas, but no matter."

"My point of view of Korea is a child’s point of view. Because I left when I was seven and a half, there was an enormous amount of innocence. While I was growing up, a lot of horrible things happened politically in South Korea, and yet, I had a mother who was teaching piano at home. I remember things like getting ice cream as treats if we had some extra money, or how my father always wore a suit to the office; that’s sort of what I remember as a child. And that innocence is really nice because, now that I learned the historical aspect of what was really going on, I think, gosh, they must have been terrified in some ways. They must have been terrified sufficiently to say, “We would like to immigrate to another country and start all over again being essentially working class.”"

"(is a master class on dialogue:) Pachinko by Min Jin Lee. Really it’s a masterclass of everything. I always tell people that I am the president of the Pachinko fan club. It is one of my favorite novels of all time and gave me insight into a part of history, and a part of the world, from perspectives I had never encountered. A must read."

"I compare Bri and Starr to Biggie and Tupac…Without the beef! Tupac was very community-orientated, and that’s how Starr is. But Bri, similar to Biggie, she’s about making it, she’s about seeing her dreams come to life. She’s about trying to save her family, and there’s nothing wrong with that. So that’s where they’re different, but they’re similar in the fact that they are both powerful young women who know they have voices, and they both understand how they can use those voices to affect an entire generation."

"If nothing else, fiction has empowered a lot of people in the act of resistance. The Hate U Give, I know, has birthed several young activists and I’m so happy with that, I’m so proud these young people have decided to speak up and speak out on things that concern them. There was one young lady in Texas, it started out with her deciding she was going to speak up for the book when it was challenged by the school district. And that led to her becoming an activist in her own right in other areas. So I think books can empower. Rudine Sims Bishop [the author and educator] says that books are either mirrors, windows or sliding-glass doors, and that’s important in the act of resistance. You need that mirror to see yourself, to know what you can be and know what you are. And then you need that window to see into someone else’s life so you can understand what’s happening around you in the world that you may not notice at first glance. And you need the sliding-glass door so that you can step into someone else’s life and walk in with some empathy and use that empathy to make yourself heard. So yeah, I think books play a huge role in resistance. They play a huge role in opening people’s eyes and they’re a form of activism in their own right, in the fact that they do empower people and show others the lives of people who may not be like themselves.""

"I'm okay with people saying “oh the language makes me uncomfortable,” but if the language is what makes you uncomfortable, consider yourself privileged. I'm more uncomfortable about the killing of unarmed black people in this country."

"Teenagers give me hope. We write them off so often. But I'm seeing a lot of things in this generation that’s coming up that gives me a lot of hope for the future. So I tell them when I'm in the old folks home, I think I can relax because I think you guys are going to do a great job."

"So many black kids are put in that position, so I wanted to show that there is no one way to talk black. There is a stereotype that if you sound ghetto, and you use a lot of slang, that makes you black. I wanted to show this girl who exists in these two different worlds. Which Starr is the real Starr? There are so many adults who identify with that, too. I went through it myself when I was in college…"

"There is nothing so beautiful as the free forest. To catch a fish when you are hungry, cut the boughs of a tree, make a fire to roast it, and eat it in the open air, is the greatest of all luxuries. I would not stay a week pent up in cities, if it were not for my passion for art."

"Some praise me because I am a colored girl, and I don’t want that kind of praise…I had rather you would point out my defects, for that will teach me something."

"I have strong sympathy for all women who have struggled and suffered."

"I was practically driven to Rome in order to obtain the opportunities for art-culture, and to find a social atmosphere where I was not constantly reminded of my color. The land of liberty had no room for a colored sculptor."

"I do believe that inside each of us, inside our imaginative lives, dwells every possibility in the human journey. It is a matter of access, I suppose. And the courage to access. I think we all have the same weapons: patience, imagination, hope, and the ability to be crucified and yet resurrect. I strive to be open to all of these."

"I think the only responsibility that writers have is to our own truth. If that happens to merge with contemporary issues, then yes, write that truth. But what we are haunted by is not a thing we choose. And that choice is most certainly not made by the latest headlines."

"My fingers are turning red, my nose is turning red, and that kind of cold, I was, of course, also unfamiliar with. And snow has always had an awe for me. The silence that takes over the world, and just. . . the absolute miracle of snow. I’ve never gotten over it, I have to confess."

"I came to understand that there are far more stories in the world than my own, and that there was a richness and a profound resilience in the lives of these women that I was working with that just astonished me. It just floored me. And witnessing that resilience, witnessing their strength, their warmth, their generosity despite horrible acts of violence perpetrated against them, I walked away from that job with a very clear idea of who I was as a writer and what I needed to write. And it hasn’t changed. It’s just a fist inside of me. It just sits there."

"…I just think there was some element of burying some stuff so that you can get on with your job and your life. I realized then that I was looking for stories that were behind the act, and I needed to find that, but I realized very quickly how difficult it was going to be. I didn’t want people who were wanting to talk, in a sense."

"Men can frighten us, other women can frighten us, and sometimes we worry so much about what frightens us that we wait to have an orgasm until we are alone. We pretend to want things we don’t want so nobody can see us not getting what we need."

"I apologise for everything…As a woman, I’ve apologised my whole life."

"I learned that comprehending someone’s heartache is, unfortunately, very often the only way to stop condemning them…I learned that most of us wouldn’t necessarily do certain things over again—like not partake in a moment of passion—even if we know how long it might stay with us/hurt us."

"I presume your Grand Children are with you, and doubt not that they will afford you every consolation that existing Circumstances will admit. Present me affectionately and sympathetically to them they also have lost a protecting affectionate Connection, and I have lost a much valued Friend."

"I have certainly experienced severe trials, and some hard dispensations of Providence … To travel with some dignity, innocence, and usefulness, down the Road which leads from the Morning of Youth to the Night of the Grave, is perhaps as much as we can flatter ourselves with accomplishing."

"Powel: Well, Doctor, what have we got? Benjamin Franklin: A republic, Madam, if you can keep it. Powel: And why not keep it? Franklin: Because the people, on tasting the dish, are always disposed to eat more of it than does them good."

"Your resignation wou'd elate the Enemies of good Government...They would say that you were actuated by Principles of self-Love alone—that you saw the Post was not tenable with any Prospect of adding to your Fame. The antifederalists would use it as an argument for dissolving the Union, and would urge that you, from Experience, had found the present System a bad one, and had, artfully, withdrawn from it that you might not be crushed under its Ruins."

"[You] have frequently demonstrated that you possess an Empire over yourself. For Gods sake do not yield that Empire to a Love of Ease, Retirement, rural Pursuits, or a false Diffidence of Abilities which those that best know you so justly appreciate. Convince the World then that you are a practical Philosopher, and that your native Philanthropy has inducted you to relinquish an Object so Essiential to your Happiness...That you are not indifferent to the Plaudits of the World I must conclude when I believe that the love of honest Fame has and ever will be predominate in the best the noblest and most capable Natures. Nor is the Approbation of Mankind to be disregarded with Impunity even by you."

"Contrary to American custom, [Mrs. Powel] plays the leading role in the family. What chiefly distinguishes her is her taste for conversation [and] her wit and knowledge."

"[The Powels were] difficult to separate from each other, who lived together not as man and wife… but as two friends, happily matched in point of understanding, taste, and information."

"Dined at Mr. Powells -- A most sinfull Feast again! Every Thing which could delight the Eye, or allure the Taste."

"Like Mira, Virtue’s Self possess Let her adorn your Mind For Virtue in a pleasing dress Has Charms for all Mankind Her spotless Mantle shall be shown When its blest Owner flies The Flaming Chariot make it known When Soaring to the Skies."

"When in society she will animate and give a brilliancy to the whole Conversation; you know the uncommons command she has of Language and her ideas flow with rapidity."

"Every time I went down the aisle, I was totally, 100 percent in love. I loved being in love. And the downside was, I really was attracted to men very opposite from myself. You know, that old story. You know, if you're warm, they're cold. If you're a hard worker, maybe they're lazy. If you were realist, they're a pessimist?..."

"...On one side, there was super, super conservative, regular girl-next-door. And on the other side, there was this kind of fantasyland, pretend, dancing-school, wonderfulness: you know, the hair, the makeup, the costumes, the music, the recital halls. I mean, so for me, I needed that balance."

"I have my on and I have my off switch. I'm as exuberant and whatever else you want to call me; I'm very private. I usually go out to dinner here by myself, five o'clock. I love it. I mean, who could ever live up to that Betsey? I'm too much for myself to live up to. I'm very opposite, privately…"

"It took me quite a while to learn how to do the corporate dance. I was just too defensive. I just got involved with too much and I don't have to do that. All my companies that I work with have been around for years with me. They got the brand down. They keep it going in a really good way. I realized one day I am not going to love all the people around me. I did with my company, because we really ran it like a family. Everybody loved everybody else, and they still do. I still have my pink lady sorority club going on."

"A photograph is a secret about a secret. The more it tells you, the less you know."

"My favorite thing is to go where I've never been."

""Our whole guise is like giving a sign to the world to think of us in a certain way, but there's a point between what you want people to know about you and what you can't help people knowing about you. And that has to do with what I've always called the gap between intention and effect."Goldman, Judith."

"Freaks was a thing I photographed a lot....There's a quality of legend about freaks. Like a person in a fairy tale who stops you and demands that you answer a riddle. Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats."

"I do feel I have some slight corner on something about the quality of things. I mean it's very subtle and a little embarrassing to me, but I believe there are things which nobody would see unless I photographed them."

"It's always seemed to me that photography tends to deal with facts whereas film tends to deal with fiction. The best example I know is when you go to the movies and you see two people in bed, you're willing to put aside the fact that you perfectly well know that there was a director and a cameraman and assorted lighting people all in that same room and the two people in bed weren't really alone. But when you look at a photograph, you can never put that aside."

"Everybody has that thing where they need to look one way but they come out looking another way and that's what people observe. You see someone on the street and essentially what you notice about them is the flaw."

"They are the proof that something was there and no longer is. Like a stain. And the stillness of them is boggling. You can turn away but when you come back they'll still be there looking at you."

"I never have taken a picture I've intended. They're always better or worse."

"For me the subject of the picture is always more important than the picture. And more complicated. I do have a feeling for the print but I don't have a holy feeling for it. I really think what it is, is what it's about. I mean it has to be of something. And what it's of is always more remarkable than what it is."

"Nothing is ever the same as they said it was. It's what I've never seen before that I recognize."

"I work from awkwardness. By that I mean I don't like to arrange things. If I stand in front of something, instead of arranging it, I arrange myself."

"She was really terrific...Diane was one of the first female role models I ever had that didn’t wash the floor six times a day. I liked her as a teacher."

"I’ve also seen both sexes mistreat their servants, servants’ children, and scream abuses at poor people in the markets. In Pakistan, abuse is not as openly discussed as it is in the West. Abuse seems to be more acceptable as long as one maintains a luxury lifestyle."

"I understand why some women choose to wear burqas as a protective cover to keep the men from staring,” said Ritchie, speaking of her experience of Pakistan. “It’s important to note that both women and men stare, but men are more obvious. In Islam, men are taught to lower their gaze in front of a woman, but that does not happen often."

"Whatever and whoever Ms. Ritchie,..., however many ‘privileges’ she enjoys, is a separate matter. Without any reference to the individuals she has pointed fingers at, because there is no way of knowing if those accusations are genuine- her claims of the harassment suffered by women in general at the hands of men in general, are distressingly true, and when there is even a grain of truth in a matter, it warrants attention. And what Ms. Richie has said contains more than just a grain."

"Some historians' reluctance to utilize victim testimony in their con-struction of Holocaust history may be a result of a prejudice among them to utilize only 'official documents' or to combat accusations of Holocaust deniers by being able to demonstrate the facts through the words of the Nazis themselves."

"Listen, my books are about dragons and vampires and puppies and bad-tempered unicorns, because I like all those things and I want to write funny, happy books. But one of the biggest reasons I write at all is to get inside someone else's head. I think everyone is at the center of their own story, and I always wonder about how other people see the world... how two people might experience the same event in completely different ways. [...] [I]t shouldn't be surprising that I put a lot of faith in the power of storytelling to shape our own real-life character."

"I feel so lucky that these amazing readers have connected with my books - and they are amazing; the kids I've talked to are the sweetest, smartest, most thoughtful people, and it gives me so much hope for the future. Especially since so many of them are storytellers and artists, too! Maybe that's the unexpected response I'm proudest of, that there are so many incredibly creative young people who want to come play in my dragon world. I hope it inspires them to create their own hopeful, compassionate stories and a more hopeful, compassionate real world."

"I’ve always loved kids’ books, because I feel like children are the most interesting audience and the one you can affect the most. I remember the books I read when I was 10, 11, and 12, and I feel like they shaped me and my view of the world, and the kind of person I wanted to be. It’s such a wonderful field to work in. I’m interested in joyful and hopeful stories. There’s a lot of dark, crazy things that happen in the dragon books, but the kind of thing I’m always trying to head toward is that idea of hope and agency, that no matter who you are you can control your own destiny. I want kids to feel that coming out of these books."

"I couldn't help but feel that to call him out on this well-intentioned extravagance, to embarrass him, was sort of unnecessary and cruel—not unlike informing Blanche Dubois that her arms looked flabby, her hair dry, and that she was dancing the polka dangerously close to the lamplight."

"Sal Mineos were always talking in spongy voices and making comments that were as vague as the outline of an angora sweater."

"One thing I discovered, when I was doing reading for this [collection], is that one of the roots of the word wonder means to smile. Wonder is wanting to know more about others, with a smile. It’s that joy. And I don’t know if this sounds Pollyannaish, but you don’t have to teach a kid to wonder…"

"I love the poet Kwame Dawes, and I always come back to this quote of his: “We are political by our noise and by our silence.” What we choose to be excited about is political. For the longest time, I’d kind of cringe, thinking I’m not bold enough to be political. His words really helped me own the power of my own enthusiasm. Think of how many things weren’t championed by the publishing world in the ’80s and ’90s. Think of how many things weren’t even encouraged. It’s not that there weren’t Asian Americans writing literature or writing about nature. The publishing houses chose not to publish them. That’s a political statement, too….So for anybody who says, Oh, I don’t want to get too political here—we’re all political. You’re political by what you champion and what you stay quiet about."

"… I still think of that 8-year-old girl who loved sitting on the floor of her library, reading about animals and plants. How excited I was to read new nature books. Every time, turn to the back cover, and it was always a White guy. I never saw someone like me. I might have started thinking, maybe outdoors is not for me [if it wasn’t for] my parents, who showed me what it means to have a garden and how much fun it was to memorize the constellations. So it was weird, because I was internalizing what I saw as a lover of pop culture, but what my parents modeled was different…"

"…It was very purposeful that I included animals that I’ve never touched, never looked into their eyes. We should be able to care for creatures outside of [our immediate vicinity]. We should be able to care about plants and animals and people that we’ve never seen before."

"Aimee Nezhukumatathil, who uses poetry to write of the wonders of the natural world. She writes about being brown in white America, about being a daughter, a wife, a mother, of being a woman making sense of her own skin."

"The higher-ups that I’m negotiating with are always men, I think if you asked any of them, they’re really liberal guys and they’d be like, ‘We wish there were more female directors.’ But whenever they have this large amount of money and they are about to invest it in something and they need to pick somebody to be at the helm for it and represent them, they look for somebody that’s the most like them. Unconsciously! They’re like, ‘I wish there were more female directors, but for this movie [made with] my money, I’m going to pick the guy that’s like me.’"

"It is very difficult to edit something that I direct. It’s having to remake decisions that I’ve already made on set and now have to undo or reimagine. I always warn Directors sitting down with me to edit not to watch the film and footage too much. The ability to have fresh eyes and be able to watch the movie as a viewer is the most valuable tool a director has."

"Nothing will stop us....they can try and try and try but the storm is here and it is descending upon DC in less than 24 hours....dark to light!"

"We are walking to the Capitol in a mob. There’s an estimated three million people here today, so despite what the media tells you, boots on ground definitely say something different. There is a sea of nothing but red white and blue patriots and Trump… and it was amazing to get to see the president talk. We are now walking down the inaugural path to the Capitol building, three million plus people. God bless America, patriots"

"She served time in the military and she's passionate about everything, particularly Donald Trump for some reason"

"She always said being an American is being an American, regardless of your race, your ethnicity or your beliefs. If you're team America, you're American regardless. That's how she always put it .. She just felt as long as you were a good person at heart, she'd have no problem carrying on a conversation with you"

"wonderful woman with a big heart and a strong mind .. loved America with all her heart"

"She loved her country and she was doing what she thought was right to support her country, joining up with like-minded people that also love their president and their country"

"Nobody from DC notified my son and we found out on TV. She is a Trump supporter."

"We were trying to get in touch with her once this sh*t was all over the media. We were trying to call and trying to call, and nothing. Her location services were off. We just couldn't find her, and finally we saw the live video of her. I thought she was just going to a rally. And I think that was all it was, until it wasn't. It was extremely unlike her to put herself in that position."

"In defending his actions, Byrd told Holt things he evidently wouldn’t tell investigators, including his claim that he shot as “a last resort” and only after warning Babbitt to stop. However, documents uncovered by Judicial Watch reveal that eyewitnesses—including three police officers at the scene—told investigators they did not hear Byrd give Babbitt any verbal warnings prior to firing, contradicting what Byrd told NBC."

"Roberts said Babbitt, a former military police officer who served tours in both Iraq and Afghanistan, would have complied with commands to stop and peacefully surrendered had Byrd or other Capitol officers attempted to arrest her. But he said additional eyewitnesses he’s interviewed say Byrd never gave her such verbal commands. He said Babbitt wasn’t even aware that the officer was nearby because he was positioned in a doorway of a room off to the side of the Speaker’s Lobby doors. Byrd, whose mouth was covered with a surgical mask, took aim outside her field of vision and fired as her head emerged through the window. Roberts compared her shooting to an “execution.”"

"Possession of various emotions and desires—care, concern, love, but also anger, revulsion, indignation—is not just immensely useful to seeing the moral landscape, it is a necessary condition of doing so. The idea of dispassion as the paradigmatic epistemic stance seems to me a dangerous one, for there are some truths, I want to argue, that can be apprehended only from a stance of affective engagement. The claim is an important one, for, if correct, it means we must reject the “bureaucratic model” of morality that is implicit in so many ethical theories."

"The first lesson about affect’s role in moral epistemology, then, is that from the valorized position of dispassionate detachment we are often actually less likely to pick up on what is morally salient. Emotional distance does not always clarify; disengagement is not always the most revealing stance. To see clearly what is before us, we need to cultivate certain desires, such as the desire to see justice done, and the desire to see humans flourish, but we must also, more particularly, work at developing our capacities for loving and caring about people."

"Women’s studies has long constructed black feminism as a form of discipline inflicted on the field and has imagined black feminists as a set of disciplinarians who quite literally whip the field into shape with their demands for a feminism that accounts for race generally, and for black women specifically. Of course, in an account where black women’s primary labor is to remedy—and perhaps even to save—the field from itself, ... once the field has effectively reconfigured itself, black feminism is imagined as no longer necessary or vital. Nowhere has this simplistic construction unfolded more visibly than in the context of intersectionality."

"The continued blindness to black feminism as an autonomous intellectual and political tradition that has ... done far more than ask to be “accounted for” and included in feminist theory is what enables women’s studies to continue representing black feminist theory as merely a critique."

"The emergence of the "post-" links both transnationalism and intersectionality to a kind of past tense. ... If the past tense of these terms is, in part, secured by "newer" work that challenges the hegemony of these terms, it is also secured through the fantasies of "political completion" that have swirled around the terms. ... The impossibility that any analytic can perform or produce "political completion" means that both intersectionality and transnationalism have been bemoaned and criticized for what they cannot ever accomplish. ... Because both analytics have been posited as correctives, both are imagined as exhaustible or finite. ... This conception of these analytics is at odds with the analytics themselves, both of which call for ongoing feminist engagements with questions of power, dominance, and subordination."

"We want to know what genes the human embryo needs to become a healthy baby."

"This is important because abortion and infertility are very common, but we do not know them well."

"An embryo formed by artificial insemination and genetic manipulation will not become a baby"

"In a life-long partnership with his wife Jessie, James Grier Miller contributed substantially to the development of and to the integration of disciplines through general systems theory, remaining actively engaged in these areas throughout his working life. From his early work on the human brain in the 1940s, Miller worked for over 60 years within influential circles to foster a wide range of new endeavours. In 1949, as Chair of the Psychology Department at the University of Chicago, he founded the new field of behavioural science, devoted to the theoretical integration of the biological and social sciences, through the establishment of the influential Committee on Behavioral Science. In 1955, he got funding from the State of Michigan to set up the Mental Health Research Institute at the University of Michigan; and in 1967, he became President of the University Louisville where he established a Systems Science Institute. His comprehensive integration of the sciences, in Living Systems (1978), remains core to the study of Living Systems and many other fields of research and practice within the systems community."

"I couldn't believe it, if it had just been a social event I could have understood, but this means peoples' lives, at least there are 4 people who have been won over, … it's pathetic, If a crisis arose, people would turn around and ask what C.D. was doing for them. We need something to wake people up. We want to win people over, If we save only one person it's all worthwhile."

"I really feel we have a big job to do to keep women from getting panicky if something happens; what will they do then, go out and get prepared when it's too late? If I have time with my three children plus the job, then I'm sure many others do too. Some one has to wake them up and I'm sure going to try."

"Subjectivities constituted from transatlantic slavery onward ... connected, then as now, by the everyday mundane horrors that aren't acknowledged to be horrors, ... inhabited horrors, ... that are breathed in like air and often unacknowledged to be monstrous."

"My intent is to examine and account for a series of repetitions of master narratives of violence and forced submission that are read or reinscribed as consent and affection."

"Desires that are congruent with the law of the master are interpellated by the enslaved, remembered, and passed on to the generations as their own."

"What does it mean to occupy and to speak from this position of shame (the position from which one cannot “still turn round to and say, ‘At least I am not a ______’”) without being shamed?"

"“I would tell you that the West is sadly fallen. What men knew once, they know no longer, nor want to know. It is all iron and edged blades, and lord smiting lord for a fistful of power. They dream of empires, and they kill for a furlong of wasteland. “But I, my lord, I want to know what the world is.”"

"You are a fool, sir priest. Ignorance may excuse you. It will certainly kill you."

"“So eager still! Do you never tire?” “Oh, yes, my Lord,” said Gerbert. “But when I’ve struggled long and hard, and then at last I understand, I forget everything but that.”"

"Gerbert recognized quality in the plainness of the woman’s robe, and in the carving of a lintel, and in the hanging of a rug on a whitewashed wall. The only magic in it was the alchemy of taste."

"I am asking you to help me. Our mutual master would stride naked into the desert, trusting in God and in his own brilliance to shield him from the sun. But the desert knows only that it is. Neither gods nor cleverness mean anything to it."

"Traitors were not cherished even by those who bought them."

"In that instant, Gerbert hated him with a perfect hate. A monster, one could comprehend, and even forgive: one could see that a devil had possessed him. This flawless selfishness was beyond endurance."

"May God preserve us from an honest pope."

"“Peace.” Gerbert rolled the word on his tongue. “Is that what it is? I’d been calling it happiness.”"

"There was no help for it. He was what he was, and that was an incorrigible meddler. Which, he reflected, was not an inadequate description of a mage."

"Now there was sophistry. A mage was a perilous beast, but a mage who was also a logician and a theologian was deadly enough to outface the devil himself."

"“You weren’t waiting up for me, were you?” Gerbert shrugged. “You know how little I sleep. I was contemplating my sins.” “Sleep will do you more good.”"

"It has been fascinating to see other cultures, and to see how sports can serve to link these cultures together, even if just momentarily. An interesting common thread I see is the importance of sports in these cultures, the passion that exists for sports and athletic accomplishment. It is wonderful that sports can have this kind of impact on people, and one can only hope that sports and competition will therefore have a positive impact on how various nations view each other."

"I think the beauty of Catholicism is its consistency through both successes and difficulties. I’ve counted on my faith to give me strength through both training and competition — but also in school, with my family and everyday life. So while my goals in the pool have changed, my faith remains something that’s consistent and something I can always rely on."

"If we don't act now, we are going to lose our sharks - and our oceans - our life support systems on this planet. Everyone needs to be aware of this situation - and everyone needs to join the fight. We can save our sharks by coming together in a grass roots movement and turning our passion into action. We tend to protect the things we understand, and sharks are largely out of sight, out of mind for us. I hope more people will get in the water - that's a powerful tool to protect them - and everything else in the oceans. When you come virtually face to fin with the "world's most dangerous sharks" you will realize as I have, that sharks aren't the enemies - the only thing we have to fear is ourselves."

"It’s a shame everyone is so afraid of sharks but we love our monsters."

"In Orthodoxy there is a wider acceptance of individualized expressions of piety, rather than a sense that people are watching you and getting offended if you do it wrong."

"Leading a simple life, Kateri remained faithful to her love for Jesus, to prayer and to daily Mass. Her greatest wish was to know and to do what pleased God. She lived a life radiant with faith and purity. Kateri impresses us by the action of grace in her life in spite of the absence of external help and by the courage of her vocation, so unusual in her culture. In her, faith and culture enrich each other! May her example help us to live where we are, loving Jesus without denying who we are. Saint Kateri, Protectress of Canada and the first native American saint, we entrust to you the renewal of the faith in the first nations and in all of North America! May God bless the first nations!"

"He (Benoit) was peaceful and kept to himself. I think it had to be something personal, a domestic problem between him and his wife. She was into devil-worship stuff. It was part of her (wrestling) character, but (she was) somebody who gets so close to their character, someone who gets into their character too much. Sometimes these people believe their own publicity."

"The safest way to transport a sick newborn, so hospital wisdom goes, is when it is still inside its mothers."

"Change can come slowly in medical practice—unless of course it comes in a sudden and absolute flurry of discovery, evidence-based recommendations, and new standards of care. But the kind of change that is based on consensus, on slowly dawning realization, or just on revamping ingrained habits can be slow indeed—it has not proved easy, for example, or even doable, to get physicians to expand our role by screening regularly and consistently for maternal depression, home firearm safety, or domestic violence."

"When I write about medicine, I write about patients, always trying to pin down the complicated pieces of other people's lives that go spinning past me. As a resident, exhausted beyond belief, I would come home and sit down and write the story of a surprising patient encounter, a hospital moment that I felt I would never forget. A month or two later I would look at the reference and the child would have slipped my mind completely, displaced by the parade of children and families and conversatioins and exam-room encounters and unfolding medical histories."

"Advice ought to be all about the patient, and that means, I know, that I shouldn't withhold good advice even in situations where I haven't been able to follow it myself. My patients are entitled to my knowledge and understanding rather than my backsliding—to my strengths, shall we say, rather than my weaknesses."

"For many practicing pediatricians, the imperative keeps coming back to the exam room. Recently, in the pediatric outpatient clinic at Bellevue Hospital, which has served the poor of New York City since 1736, I saw a toddler who was seriously overweight, and I tried to talk with his mother about ending the practice of nighttime milk bottles. The mother became very distressed when I broached the subject of the child’s weight, and the risk of severe dental caries. She knew it all — she had already been through dental procedures for her son, she was worried about the family history of diabetes and the risks associated with obesity. But if she didn’t give her son a milk bottle, he would cry — loudly and at length — and his crying at night disturbed the other people sharing the apartment, who all had to get up early for work or school. She was clearly worried that following my advice might mean losing her living situation, which was already tenuous. The toddler in my exam room was already suffering from some of the chronic diseases — obesity, dental caries — that are part of the medical risk of poverty."

"Driving down child mortality in the late nineteenth and early twentieth centuries was in no way a single project, but it can be seen as a unified human accomplishment—maybe even our greatest human achievement, at least for pediatricians and parents."

"I'm just so sick of new artists picking themselves apart trying to find something different about themselves. I'm not going to buy into it, because, quite frankly, I hate images. I'm just going to be me, whatever that is, and do my music, because it makes me happy. What makes me different is really up to you guys."

"So whatever decision you make, you're going to be able to find stories or signs to say 'I did the right thing,' because we have to believe we did the right thing in order to survive."

"I think people have this romanticism of the homeland, and that’s just not the reality for me. Every time I go back to China, I feel more American than ever, so it’s this question of, ‘Well, where is home?’ We’re always searching for it and never fully fitting in."

"It’s so much easier to tell a fish-out-of-water story when the person is blond and blue-eyed going to an Asian country, for example. But what is it like when you look the same as those people, and you’re expected to fit in? How do you put that interiority on screen?"

"People are always asking me about the importance of representation and identity in relation to making The Farewell and of course those things are really important to me – thinking about my identity and exploring my identity in the west. But I would love it if men – white men – were also asked the same questions as me. They should be asked these questions so they can be more conscientious about how they’re representing people, how they’re not representing people, and aware of their own blind spots."

"In my family, and especially when I go back to China, it's always like, prepare your stomach, because it's the way that they express love."

"Sometimes America is so great because it brings all of us together, but sometimes it can be so limiting because it puts labels on things."

"Americans always talk about family love being unconditional, and I realized that I didn't feel that way."

"We all have different aspects of ourselves, and who we are to different people in our lives, at different stages of our lives."

"There have been moments where I laughed at my own family's culture, though it's hard to separate out whether something funny is cultural, or just my grandma specifically."

"There's so little representation of people who look like me behind the camera that it makes you want to say yes to any opportunity out of desperation. It puts you in a situation where you can't make your best work. Diversity for cheap."

"I can't speak for everybody, and I don't want to say it for an entire culture, but for me, coming from an immigrant family, it's very difficult to go find your voice, which requires a lot of failure."

"The questions I want to ask will revolve around humans, connection, relationships, family, and stories - what are the stories we tell ourselves and each other?"

"It’s just skating, and I’ll survive, but at the same time, it’s hard because I’ve worked so long for this moment. It’s not the way I wanted it to go, but at the same time I’m telling everybody, you can fall and still get up and keep going."

"I had my dream Olympic skate [in the team event] and to me, I’ve been dreaming of that moment for such a long time, it made me feel like a superhero and superheroes save the day. And I wish I had said that we were all superheroes during the team event."

"There's... a stigma that says Asian Americans are more the nerdy type, so for me to be a part of this successful sports team... means a lot."

"My parents are super excited that they've produced an Olympian. I don’t think they ever would have imagined this would happen in a million years, so I hope I represent not only Team USA, but the Japanese-American culture and my family as well."

"A long time ago, a sports reporter wrote that I wasn’t strong in the free-skate, that I was more of a short program skater. And that bothered me because I work so hard every day just for a person to judge me on a couple of bad skates and deem me a bad free skater. That's absurd!"

"If you really put your mind to it, anything is possible."

"But I think a failure like that is always a learning experience. I feel like I’ve learned a lot about myself, and how to apply myself going into my next competition. It’s hard to skate like that, but I can only get better from here."

"Every time I put myself on the ice I get nervous. And getting reps is really important to me when I feel under pressure. So even in exhibition I might not be as nervous as when I compete, but having the confidence that I can land it under the spotlights, and when I can see anything, is really important to me. So I just try to do it as much as I can."

"We never thought we could or would return to Vietnam. It was almost 20 years before the possibility arose. Memories are ever shifting when you live in exile."

"Landscape, at its best, is not a narrow category. It is a source of surprise. It allows for the sudden assertion of a place, like an unexpected time signature within a melody."

"One thing great journalists and artists have in common is a desire to be surprised, to find yourself with way more than you bargained for when you began an inquiry with little more than a sense of intuition."

"I am acutely aware of the complex role Vietnam plays, as both history and myth, in the country I have adopted as my own and in the culture I have raised my children. I can’t say I embrace every American characterisation of Vietnam. But I see the Hollywood clichés, the lasting psychic scars and even the cheap fetishes as expressions of something very real and very human. Vietnam remains an unavoidable and unresolved subject. As history, place and subject, it is still unfolding."

"I certainly want to give my viewer the ability to “step into” an image and have a physical and mental experience, so it is necessary that the print be large enough; for me, that’s fifty to sixty inches wide, which is rather modest."

"Biography can be a red herring in visual art. For writers it’s a genre and a process. They organize life stories, and I imagine that the craft of biography or autobiography is largely about organizing facts in a compelling way. For me, biography is interchangeable with curiosity. My story has been valuable to my work only because it provided me with intense curiosity about certain situations, places, and sensations."

"While my return to Vietnam was intensely emotional, connecting to the landscape allowed me to disengage somewhat and gain perspective. I wanted to show Vietnam in a way I had not seen it shown before—not devastated, not victimized, not romanticized. I felt I could do that best through my exploration of the landscape."

"I have always been terrified by the idea that my photographs would be “just” beautiful. Beauty is often seen as lacking in substance. Over time, I have become confident in my ability to apprehend situations that are defined by a kind of complicated beauty, when you are pulled in by the beauty but also pushed back by something problematic."

"The one constant in my life is the landscape, in a broad sense of the word. I love the openness of the land and worry about how we’ve built our lives upon it, how little we maintain it, and how we assault it. It’s one reason for me to want to photograph it."

"At this time of crisis, I find great comfort in returning to nature, the wilderness, the richness and vast scale of the land. It has shaped the American identity; circling back to the landscape gives me hope for the future."

"I think anyone can make one, two great photographs. It is the endeavor, the sustained effort and exploration of an idea or a subject that is more significant."

"Most art photographers understand and often benefit from or engage with the fact that their medium plays a role in journalism, as evidence, propaganda…this is something we know. But the ambitions of the grey areas of subjectivity and experimentations one finds in photography is what I relate too. Color brings my work dangerously close to photojournalism. I rely on the tension between the objective and subjective within a picture to complicate a photograph. I also depend on a carefully crafted sequence of images in a sort of “essay” form to explore a complicated subject."

"Art is always made against the backdrop of politics. Artists think historically. They think about the history of art, the history of their medium, they think about their personal history. Politicians should do more of that. At the current moment it seems that the aesthetics and artistry within how each political party or ideology is presented is vigorously critiqued."

"I feel that the early part of my life was dictated by American foreign policy. This idea of human lives being caught in a much larger web of uncontrollable events was impressed upon me so the notion of scale have always been important to me. My interest in human endeavor or culture within the larger context, within the landscape has been a continuing foundation for my work."

"I always take it one step at a time. I see each new project as a response to a certain dissatisfaction, to unanswered questions from the previous work. As we experience life, we change overtime and develop different concerns. Teaching, becoming a parent, losing a parent are some of the important markers that have influenced my work."

"The topic of the military raises questions in ways that other topics would not. There are photographers who have dealt with extreme poverty, or who have photographed horrific labor conditions, and they are not held accountable in the same way. They aren’t asked: what do you think of poverty? But the question of the military is so complicated that it riles up people’s opinions."

"I think artists deal with something messy, and they keep it messy. Which is frustrating for people, especially when it comes to topics in which everyone has an opinion. I think we do move the conversation forward, but I also like to keep it messy. It is not a math problem. In a way, we should approach these topics in the way one would write an essay."

"I do use the phrase “to take a picture,” but I think my work involves labor. It is a certain reworking of what you see and of the facts, in order to create this new fiction. It is certainly a making, a transformation."

"For me, the landscape has always been the constant in my work. I work with scale as a way to give context to human endeavors, military endeavors, and the history of power. In the end, Vietnam has endured many battles and gone through so many changes. The Chinese invasion, the Japanese occupation, the colonialism of the French, the Indochina War, the Americans—the constancy was always the landscape. And people change, cultures change over time, but there is something about the land. Even as our world modernizes, there is a certain consistency, a certain authenticity."

"I think at sea, it is always about some greater force. The forces of the weather, the sky, the wind, all these uncontrollable things, you really feel the greater force of nature. But at the same time, you are on this massive aircraft carrier that costs about one million dollars a day to run! You really see that tension between the natural world and the force of technology. I think for me, the sublime is always a tension of something that you can’t quite control. It creates these emotions in you that are rare, and that make you aware."

"Rather than whether or not there is a future for combat photography, I think one of the big differences now is the role of the civilian—the amateur photographer. Conflicts will always be newsworthy, someone will always need to be there to document. Now the technology is such that anyone can be there and take a quick picture, post it, and send it out to the world. In these pictures you don’t look at the artistry anymore—if there is such a thing—it is just information."

"War photographers were always placed on a pedestal. They put their lives at risk. Of course it is still very dangerous, but it also seems that now, there could just as easily be a civilian taking the picture. Maybe it is less a question of whether war photography will continue, and more a question of whether this idea of the heroic, self-sacrificing combat photographer will live on."

"I could spend a full-time job just responding to the ridiculously illogical, inconsistent, and blatantly stupid arguments supporting Trump. But here's the thing: his supporters DON'T CARE about facts or logic. They aren't seeking truth. Trump probably could shoot someone in the middle of NYC and not lose support. And this is the cumulative reason why this nation is in such terrible shape: We don't have truth seekers; we have narcissists."

"Why should we rest our highest office in America, on a man who fundamentally goes back and forth and really cannot be trusted to be consistent or accurate in anything."

"To anger a conservative, lie to him. To anger a liberal, tell him the truth."

"For people asking, this quotation has been attributed to Roosevelt, but there isn’t a specific record of him saying this in a speech. I posted it because the ifea itself is true, whether or not he said it! :)"

"Trump is right. Pence should have sent back the certifications to the state legislatures, asking whether they were done according to the states' laws. That's what we advocated for. Pence was a coward at his moment in history to stand up for integrity."

"Records come and go. The glory of God is eternal. Thank you Father."

"I no longer run for self-recognition, but to reflect His perfect will that is already set in stone. I don't deserve anything. But by grace, through faith, Jesus has given me everything."

"Within its narrow classrooms the college must see to it that she [the student] is taught with breadth of view, and not only in so-called safe subjects, but in so-called dangerous subjects, in economics and history and psychology and religion; taught with sincerity which will call out sincerity in her; with imagination which will create for her a true and breathing picture of the world she is to meet; and with liberty of spirit which will make her all through her life demand ceaselessly for herself and others the same quickening air."

"The college must educate for a changing world ... about which we know only that it will be different from anything of which we have now had experience."

"Is there even any point to doing the "if that guy who threatened to bomb the Capitol was Black or Muslim" convo at this point...?"

"This is what happens when one group of Americans are taught generationally to believe they are the sole, true owners of a country their ancestors seized from the indigenous and reaped via the blood and toil of others they never viewed as fully human."

"He’s a person, which is the whole point of this movie. He’s not just some like floating demon slayer, and it’s a really tricky balance…He’s someone who clearly has a lot of pain, and that’s something I find really interesting about him as a character."

"I love horror and I felt like I had a really good idea about how to make something scary, but also I’m very measured, especially with a story like this, about what is appropriate and what is not appropriate."

"I would have hated getting the question, ‘Isn’t it so timely right now, with all these deaths going on?’ That’s not why we made it. But I think it will happen again – a summer like last summer. I think that the story we’re telling was about that: the fact that it’s cyclical. It could come out next year, it could come out any time and still be relevant."

"It’s not necessarily overtly racist, but it is shocking the way people have talked to me in my position as a director. People who work for me. Especially on a movie like this, where Jordan was the only other person of colour at the level of decision-making on the movie. And that’s unacceptable, frankly."

"I feel it is really different to be there at a show. It is such a great feeling and I hope that doesn’t die with the Internet as so many other things have. Go out, support those bands, have a beer, listen to some live music and don’t forget about it!"

"I came of age for film, at a time when the sexism was pretty strong. And although I could get work as a Writer, I couldn’t get work as a Director at all. And I had the experience of watching young men who had made shorts as I had, prize winning shorts, as I had, moving on to directing films and I couldn’t do it. And, and my husband, Ray [Ray Silver], was… became angry, and he said, “You know, maybe you can do it, maybe you can’t, but everybody should have a chance to try for the brass ring.”"

"My own experience with my films has been that the more I’m left alone, the better I do. It isn’t that I think I’m smarter than anyone, or anything like that. It’s just that whatever my instincts are, it’s better for me to be able to put those into play in my own work."

"I don’t think too many people had what I had, a husband who believed in me and who wanted to help me. (discussing the support and encouragement she received at the start of her film career)"

"So many directors that I admire do things in two takes, like Lumet, and then there are directors like Arthur Penn, who did 40 takes. Whatever works for you, but I like to get it, and once I’ve got it move on. I don’t keep doing it to see if anything else will come. I haven’t ever had where I’ve had so much time or money where I would have had the time to do 40 takes. (as an answer to if she has a preferance to do a minimum number of takes)"

"I really love being the person who in the end gets to make the decisions and have it become the way you want it to be and that urge is an overpowering urge that I have that makes me want to make films."

"It's a human truth that romantic fantasies are very hard to let go of and while it would be very nice to say Izzy, observing the difference between the two men realize that immediately that Sam was the better choice. I mean maybe you know maybe you work more rationally than than Izzy I don't know. But I mean the thing is that that you don't always do what's good for you, you know you don't always do what's right for you and sometimes you have to grow past it or go through something in order to reject it. (discussing the lead character's decision making in the film Crossing Delancey)"

"Abstract notions of feminism never interested Joan; specific women and their stories did. Yet without setting out to do so, Joan Silver influenced generations of women to come. She was a trail-blazer, a risk-taker, a champion of other women directors. And always as quietly confident as she was the day I met her some fifty years ago."

"Joan Micklin Silver was one of the most courageous artists I ever knew. She knew she could prevail at a time when women were not being taken seriously as film directors. We have all been deprived of seeing so many many other great movies that Joan was ready and prepared to give us."

"The pathbreaking movie director Joan Micklin Silver got to have a career that almost no woman was allowed to have, and did not get to have the career that she deserved. Such is the paradox of the pioneer: You get to go where very few have gone before, but when you get there, there’s nobody to pull you up or push you ahead. You make your own way, and withstand the indifference, the hostility, the condescension, and the people who treat you as a curiosity or a slightly troubling anomaly."

"Hollywood, of course, expected women to be collaborative, but had no intention of rewarding them for it. So she stayed independent. (Hollywood's ignorance of Joan Micklin Silver's talents and ambition)"

"We were so young and had never produced anything, and Joan was infinitely patient and remarkably assured on the set. We learned so much about movies from her. And she really knew how to talk to actors. John [Heard] could be tricky — he was moody and had a tough reputation. But he never gave her a moment of trouble. (memories of the production of Chilly Scenes of Winter)"

"Great American filmmaker not nearly revered enough, I think she should be talked about alongside John Cassavetes as people who really moved the needle for American Indie Cinema, like after World War II and before Sundance."

"I just didn’t want to see myself fall back. I don’t want to disappoint my coaches or my parents."

"I grew up going on that beam. If I wasn't in the gym I was always outside on the beam doing extra things because I didn't want to get behind or I always wanted to get better. It was something we kind of cherished because whenever I was bored, I would just go outside and he [father] would watch me and try and coach me even though he didn't know what he was talking about."

"I was just telling myself to do nothing more and nothing less, and just telling myself to breathe because in that moment I literally felt like I was going to puke, I was so nervous. My normal is good enough, so I don't do anything more or anything less, I just have to do what I normally do."

"I focus more on bars and beam just because those are my strongest events, and I just try and maintain whatever I can do on floor and vault. I'm consistently training on all events. It's just I spend more time on bars and beam. I obviously want to perfect those and get those to be the best that I can be because those are going to be my strongest events and the two events that I could contribute to the team."

""I want to do it for my family and coaches obviously, but I also want to do it for myself. I've just been through so much."

"I'll probably cool down a little bit and just focus on what I need to do especially because we're coming to the end. I want to just do the best I can and end it off good."

"I'm probably going to delete Twitter. Instagram is not as bad because I can't really see what people say, but [on] Twitter it's just so easy to see everything. So I'm probably going to have to end up deleting that."

"There were so many times in my bar routine where I could have just gave up and jumped off but I didn't and now I have a bronze medal. This medal probably means more to be than the all-around gold medal did, just because bars is my thing. To mess it up like this, I was just kind of sad about it."

"I felt like I wanted to make everybody else happy because bars is my thing and a lot of people were rooting for me."

"My community supports me a lot. I don’t want to let them down so I go out and compete for them."

"You just can't get distracted easily. If you're having a bad day you just gotta keep going and you just can't be too hard on yourself."

"There was always just that challenge of getting better, and every year having a new goal and getting a step closer to the ultimate dream. I really didn’t have the dream of the Olympics until I was maybe in middle school. And, at that point, it started to get a little harder. My life centered around skating—training before and after school. It was a huge time commitment for me and my family."

"I’d never skated just to win a gold medal before; I’d never put that kind of pressure on myself."

"Even as an athlete, I am constantly inspired and awed by the stories of Olympians. I was honored to have been asked to exchange ideas in the first charrette."

"In terms of my career, having the gold definitely changed my life. The Olympics are different, you know? They’re every four years and it’s such a small group. So for me, having achieved the gold, there’s a certain prestige that comes along with it, and responsibilities and things like that, you know, “master to your sport.”"

"Now is really the time to raise more awareness of what’s going on and to demand that things change. This younger generation is not afraid to speak out, I think they’ve given a lot of us courage to really stand up to what’s right, and I think that’s what we need to follow"

"Looking back, it's like, wow, those few minutes just made such an impact. We have that much time to kind of prove yourself. I think that's one thing that makes skating so exciting, because it's just intense, and it's quick, and one little slip can mean the difference between placing or not placing."

"Winning the gold opened up a lot of opportunities, other challenges that I wanted to take on and do in my life."

"The reward of putting a smile on a child’s face, who has to deal with so many challenges in life, is just beyond words. It's incredible."

"The bottom line here is that in actual historical fact, Turks were not like Nazis; Armenians were not like Jews; and attempts to convince Americans that they were are propaganda, not history. The Armenian tragedy was real and terrible, but it was not the only terrible tragedy in Turkey in 1915 and it wasn’t genocide; it was that in the midst of a wider war that brought death and destruction to millions on all sides, nationalist Armenians fought a war to claim a piece of Turkey for a country of their own, and lost."

"We can't let lone nutters get in the way of progress [...] #endwhitepeople [...] I'm not talking about wiping out people who identify as whites, it's about ending white privilege. [...] Show me in the UN OSAPG framework where it says whites are a protected group? genocide is only applicable to protected groups."

"Being jewish is a tangible unbroken form of identity going back 3000 years, whiteness is a construct from 200 ybp."

"I think there is a resurgence of anti-Semitism because at this point in time Europe has not yet learned how to be multicultural, and I think we are going to be part of that transformation which must take place. Europe is not going to be the monolithic societies the once were in the last century. Jews are going to be at the center of that. It's a huge transformation for Europe to make. They are now going into a multicultural mode and Jews will be resented because of our leading role. But without that leading role, and without that transformation, Europe will not survive."

"It was the year of the derivative. From last spring on, as if a blockade of ice had suddenly given way, bad news about these exotic financial innovations started to flow, and victims, corporate and public alike, began to wash ashore. In the wake of billions of dollars in losses since then, opinions about these new-age instruments have drastically hardened. “Derivatives,” observes Richard Syron, chairman of the American Stock Exchange, which trades the species called puts and calls. “That’s the 11-letter four-letter word.” The word’s elevation to pejorative status is probably justified, but not simply because wild market swings turned many derivatives players into big losers last year. What magnified those losses and sent a troubling message to regulators was disturbing instances of managerial blindness, desperate behavior, even outright fraud."

"… When Fortune published its 2013 list of the world’s 50 Most Admired Companies, five among them were 25 years old or less. Four were the usual suspects from tech land: Amazon, eBay, Facebook, Google. The oddball in this party of five was BlackRock (BLK), formed in 1988 by Fink and seven partners. They’d been Wall Streeters, at First Boston and Lehman. They were sell-side bond experts, but not just any sell-side experts. They were inventors and traders of the complex asset-backed instruments–like mortgage-backed securities–then newly available. Fink’s transformative idea was that the buy-side half of a trade needed help to understand these products. So his band re-created themselves as asset managers. … … BlackRock has been a supernova stock, shooting from a 1999 IPO price of $14 a share to about $320 recently. That’s 22 times the original price, and today the company has a market value of about $53 billion. Justifiably proud of this climb, Fink is fond of pointing out that it dwarfs that of the S&P 500 (up not even one time for the same period) and also wallops that of many well-known stocks, such as Berkshire Hathaway (up three times)."

"We were playing bridge at Kay Graham's apartment in New York — over on the East Side. I think the other two players were my husband John Loomis and a friend of ours, John Gillespie — although the constitution of the bridge game sometimes changed. And they wanted a picture for Fortune Magazine, where I worked. And they said "Let's get one at the bridge table." So I went over and sat down and pulled my cards back — tried to look exactly like we were playing. And Warren, on the spur of the moment, leaned over to look at my cards — and I broke into laughter. It was perfect. It was a great example of his sense of humor, which is very, very extraordinary. When people say something to him, his instinctive wish is to say something funny back."

"The idea [the government's 'You Win' campaign] is that instead of young people in Nigeria waiting to get employment, they should create their own jobs and employ their peers and employ other people."

"So we were not able to save when we should have. That is why you find that Nigeria is now in the situation it is in."

"We have a choice. Either we converge downwards by allowing the virus to drag us all back down, or we converge upwards by vaccinating the world."

"Investing in women is smart economics, and investing in girls, catching them upstream is even smarter economics."

"No one can fight corruption for Nigerians except Nigerians. Everyone has to be committed from the top to the bottom to fight it."

"It's about our common good, because these variants will come back if people are not vaccinated."

"Africa represents our fastest-growing region in the world. If you want to be relevant, you need to be in this part of the world."

"It’s not just about empowering women, it’s about economic growth."

"Unless we can make access to finance easier for women in their businesses, we will be missing out on a significant portion of growth within our economies."

"Compare non retiring income with investment such as bonds and fixed income etc.Annuity is low risk venture, fixed rate and guaranteed income for life and dependable old age."

"“Africa’s opportunity lies not in aid — but in adding value, building trust, and using our resources wisely,”"

"“Our critical minerals are in demand — but instead of giving them away raw, we must negotiate smartly, add value locally, create jobs, and become a true hub of global manufacturing and innovation""

"“Even solving one problem or building one enterprise can have ripple effects across the continent. Everyone has a role to play in building Africa’s future,”"

"“Events like this roundtable are vital platforms to foster collaboration, deepen trust, and unlock the entrepreneurial potential that exists both within Africa and among its global diaspora. It was an honor to join this important dialogue and help shape conversations that will drive long-term impact,”"

"“Diaspora investment is not just about capital; it’s about building ecosystems and reshaping Africa’s economic narrative. We are proud to create a platform where action-oriented conversations drive real change.”"

"“Africa really needs to change its mindset about access to aid. We should begin to see it as a thing of the past,”"

"“Our focus should be on two key areas — attracting investment and mobilising domestic resources.”"

"“The biggest pension funds are in South Africa, followed by Nigeria, Kenya, Morocco, Botswana, and Namibia. These resources are hugely significant, and we need to find ways to tap into them,”"

"“At present, these institutions have a combined balance sheet of about $70 billion, but our infrastructure needs alone exceed $200 billion annually. Instead of looking outward for financial support, we must strengthen our own institutions,”"

"I’ve developed my own style. It’s a colourful one. It’s African, and it is me."

"There is always guilt. Just make it work."

"If you have a sense of purpose that drives you, then aim high and become a leader and make room as you go."

"There is no right way to be a woman leader. Be true to yourself."

"Get anyone you know talking about gender stereotypes. These false assumptions cannot survive being held up to the light of day."

"Don’t take a backward step. Don’t shy away from taking up space in the world. Don’t assume you are too junior or that people are too busy. Reach out and network."

"I’m told, I’m like my father, and he was the most wonderful man. But I think he was gentler than me."

"I believe that when you find problems, you should also find solutions."

"In the 73 years of GATT WTO, I am honoured to be First Woman and First African to lead. But now the real work begins. Ready to tackle the challenges of WTO. Forget Business as usual!"

"“Nigeria does have a problem with corruption. And so do many other countries, including developed countries. I don’t like the fact that when people mention the name Nigeria, the next thing they say is corruption.”"

"“On my first day I sat in that chair and said Oh My God I can't do this. There are just too many things: we have to reform the budget, to fight corruption, do this, do that. But once I had set out the matrix, which became like a bible, I suddenly got a burst of confidence.”"

"“One of the first big things we did was to delink the budget from the oil price ... Any surplus above that we saved — and we announce to Nigerians how much we had saved each quarter.”"

"Don’t be scared to live your faith. When I was young and went on my first trip I was hesitant to speak up and say that I wanted to go to Mass. When I stuck to it and showed that I lived my faith I got respect from my teammates."

"We will be judged on cowardice. If we don't do what's right for women in sport. It's a very worthy cause. What women have been given through sport in this role in their life, it's really priceless. And so we can decide that that's worth saving, that's worth holding on to and investing in for our future. Or we can just say, hey you know what: we've got this little side agenda that has a strong really loud voice and we're either going to yield to it or not."

"I’m trying to take a beat to digest the Rittenhouse verdict. My son just asked me how it’s possible that he didn’t get charged for anything. How is that possible? I don’t have an answer for him."

"During filming, it never occurred to me that I was going to be a part of either film. I was always trying to cut my voice out by having subjects include my question in their answers."

"The most repressed countries often produce some of the most amazing films. I think that it will push people to find a way to express their ideas in new ways."

"We all like to believe that our world has clear heroes and villains and that the heroes are going to save us after all, but that’s not the reality."

"I’m pretty pessimistic about the Chinese government because I think there is no balance within it or any institution, country or organization that can hold it accountable. So, I don’t know what the future will be."

"I think the first step of any change comes from the people who live in China. And that's why I think the most important impact I hope that documentaries would have is to change people's perception. Because personally, I experienced how I have learned so much, and unlearned so much, about what I was taught growing up about China."

"People in China who praise the government despite that they have family that died from Covid because of the lack of medical response and lack of care from the government, but they still say they are appreciative of the government, I look at those people and they could be my family or my friends. I would never look at them with disgust or contempt or as morally superior. I understand how they became that and how they got their information, how their ideology was formed."

"There is a difference between disinformation and misinformation. Disinformation is somebody giving the wrong information but unknowingly. They did not know it was wrong, so maybe they could say they are working with the information they had at the time but it’s still wrong. Misinformation is intentionally spreading wrong information. At what point the disinformation turned to misinformation is really hard to go back and find. The people who are at the level of government, whose responsibility it is to present transparency and truthful information, those people need to be held accountable for giving inaccurate information."

"Misinformation is just like a virus. There is an origin. It’s hard to find where the origin is, but it starts with a small group of people and it takes human hosts to spread from person to person. All the people who voted for Trump or believed that COVID didn’t exist, you need to go back to see where did it start and how long have we ignored that. I do want people to look at it, and not to place judgement but to look beyond those superficial issues."

"I’m conscious what things were not positive. And I, as a storyteller, as a filmmaker, and as a citizen, I felt that it’s my responsibility to expose that and to reveal that, to raise awareness so people could see. That’s the only way I feel you could really push the country to move forward, to improve, and hold the authorities accountable."

"We all want certain things. We all want transparency. We all want accurate information. And especially with the experience of coming from China, knowing how somebody could firmly believe in something that was not true. I would never look at any of the subjects in China who say they love, they admire, they appreciate Xi Jinping and they appreciate what the Chinese government does with contempt or with disgust. I would never do that. Because I know what they came from, and I know what made this happen."

"I think empathy is not learned. Maybe I’m wrong, but in my experience it’s not."

"Memory is the central part of the individual identity… and I think that’s true with a nation, too. What a nation is how the nation remembers its past, and with the authoritarian government in China, so far recent history has been written in the authorities’ narrative; how they came into power, and what has happened since they came into power, have been revised in a way that fits into the official narrative."

"Our goal was to make a film that in 50 or 100 years will survive as a reliable account of what really happened during the one-child policy. It can serve as a rebuttal to the official narrative, which in China already is pure propaganda. Even outside of China, many people we’ve spoken with have told us how surprised they were by the details of the film, which shows how effective the propaganda promoting the policy truly has been."

"The biggest challenge we faced during post-production was how to integrate all the different elements involved in the film. The topic of the one-child policy and its consequences are massive and complex. We went through a lot of trial and error to decide which characters to include and how to transit from my personal and family story to a larger national and international story."

"It’s so idealized, like, your life must be perfect if you can hold a balance posture on the beach. But the actual practice of yoga isn’t about that at all. The image isn’t important. The practice is."

"I didn’t realize that in truth what makes you a good teacher is really living your own practice, and living it so much that you request it to other people. Ultimately, everything you do that you teach someone else is something that you’re working through to teach yourself, and that practice of really digging within yourself, it feels like having your soul cracked open."

"We often think that yoga is only about the combination of postures, breathing, and meditation, but it results in a lot of internal work, too. That work has led me to understand my own liberation — not just of my physical body, but of my emotional and spiritual bodies. A huge part of that has been recognizing that I am a sexual being, and that's not something that I need to apologize for or be ashamed of."

"Glorifying Christ comes first, always. I wouldn’t be where I am today if I didn’t look to Christ in my times of need or doubt. When we turn to Christ, our joys are multiplied."

"Wheelchair racing to me is so similar to this feeling of flying – the feeling of going so fast that it’s almost effortless at the same time. When all of the biomechanics line up in the right way, the sport is so elegant."

"It takes a village to become an Olympian and I can confidently say that my faith and the support I've received from the staff and students at St. John’s have been instrumental in this journey."

"I hope to remember my perseverance and courage that went behind achieving my goal. I also hope to remember that the lessons I've learned up to this point will serve future generations as they pursue wheelchair racing."

"I do believe it's very important for the government of Honduras to continue their relationship with the government of Taiwan. I think it can be beneficial, obviously. It has been in the past, and I think it will continue to be so."

"But the only thing that's ending on Saturday night is your five-hundred-day title reign when I become the Raw Women's Champion."

"I didn't judge people when I couldn't see and after I got my eyesight, I still didn't."

"Society tells us a false story of who we are supposed to be. I generally ignore it."

"People really don't understand what being blind actually is. You can be blind for any number of reasons — injury, genetics, disease, etc. — so of course, a person's own experience being blind will be different than someone else's."

"The tricky thing about fencing is that there are no secrets. Once you get on the strip, it's almost like I have all the information about you that I could ever want. The same goes for you against me. It comes down to a battle of minds, really."

"The past eight years of conflict in Ukraine have already inflicted profound and lasting harm to children. With the escalation of the conflict, the immediate and very real threat to Ukraine’s 7.5 million children has grown. Homes, schools, orphanages, and hospitals have all come under attack. Civilian infrastructure like water and sanitation facilities have been hit, leaving millions without access to safe water. For many, life has moved underground as families seek safety in shelters, subways, or basements, often for hours on end. Women are giving birth in makeshift maternity wards with limited medical supplies. Most stores are closed, making it hard for people to buy essential items, including basic necessities for children like diapers and medication. And even if stores were open, millions of people are too afraid to venture outside for food or water because of continuous shelling and shooting. The intensification of the armed conflict is posing severe human costs, which are increasing exponentially by the day."

"As the fighting has now reached densely populated areas and across the country, we expect child casualties to increase. We also expect the displacement crisis to continue growing rapidly. As of yesterday, UNHCR was reporting an excess of 1.7 million refugees fleeing to hosting countries. Half of the people on the move are children. UNICEF is working closely with UNHCR to reach them with protection and assistance in receiving countries."

"I actually don’t have any problems at all with the word 'nationalism.' I think that the definition gets poisoned by elitists that actually want globalism. Globalism is what I don't want. Whenever we say nationalism, the first thing people think about, at least in America, is Hitler. He was a national socialist. But if Hitler just wanted to make Germany great and have things run well, OK, fine. The problem is that he wanted, he had dreams outside of Germany. He wanted to globalise. He wanted everybody to be German, everybody to be speaking German. Everybody to look a different way. To me, that's not nationalism."

"Hitler was a homicidal, psychotic maniac and there is no excuse or defense ever for everything that he did. Hitler was putting German Jews into concentration camps and murdering. He was a mass murderer. No, I'm saying Hitler wasn't a nationalist."

"Joe Biden is a domestic terrorist."

"In earnest, can someone explain to me why our invasion of Iraq over alleged weapons of mass destruction which were never found, during which time we slaughtered hundreds of thousands of Iraqi civilians, did not result in America being ejected from the global financial world?"

"Remember guys, whenever Israel bombs any country or innocent child, it’s because Hamas and human shields. But if anybody retaliates against them, it’s an automatic holocaust."

"I think maybe the feds definitely killed Martin Luther King Junior."

"Over 20 years ago I was a victim of rape. And thank God it didn’t result in a pregnancy. Because I can’t imagine going through what I went through and then having to consider what to do about an unwanted pregnancy from an attacker."

"I'm so sorry to hear of Jeff's passing. He laid the groundwork in so many ways for the LGBTQ advocacy taking place across Michigan still today. He will be missed by many, though his legacy will live on through those he inspired throughout his life."

"When a child comes into school versus the end of the school year, how much they’ve grown is really what tells you if what we’re doing in our schools is successful."

"I was considered the most progressive person the whole time I was in the legislature, I negotiated health care, I negotiated a minimum wage increase. I told my story of sexual assault when women's health was on the line. I wrote the Michigan 2020, which was a free college plan, before Bernie Sanders ever offered it on the national level. I am proud to be a progressive."

"In an era when so many women are stepping up to lead, I'm hoping people will focus on our ideas and accomplishments instead of our appearance."

"We worked hard, we got it done, we made recreational marijuana legal in the state of Michigan."

"Let’s fix our roads, and be the state that’s not paralyzed by partisanship, but works together. And create the blueprint for rebuilding America’s crumbling infrastructure. Let’s show the rest of the country how to solve America’s literacy crisis, and show them what good government actually looks like."

"Many will question whether we can protect our families and bolster our economy by fixing those damn roads. They may not believe we have the ingenuity to solve the literacy crisis. And no doubt, some are betting against our ability to close the skills gap. But we are up to it, Michigan."

"We have always defied the odds. And we are going to do it again, together. We are going to prove that our shared future is more powerful than the issues that divide us."

"At a time when too many people want to separate us by building walls, we here in Michigan are going to get back to building bridges together. The story of the Mackinac Bridge reminds us that we can do great things when we work together."

"I’m here because, over the past year, the people of Michigan showed up. At town halls, at rallies, and in record numbers on Election Day. I am so grateful that you did. But our work is just beginning. That’s why, today, I’m asking you to keep showing up."

"I think of myself as someone who is progressive but also can get stuff done... And I don’t vilify people that don’t see the world precisely the same way I do. I’m not arrogant enough to think that I’m always right."

"Just because you’re a survivor doesn’t mean that every claim is equal, it means we give them the ability to make their case. And then to make a judgment that is informed."

"We are in the worst moment of this pandemic to date. The situation has never been more dire. We are at the precipice and we need to take some action."

"Thanks to the bipartisan auto insurance reform I signed, nearly $2.2 billion has been put back in people’s pockets and another $800 million is yet to come... These refunds will help families pay the bills and put food on the table as we keep growing our economy, creating more good-paying jobs, and lowering costs."

"I plan enthusiastically to serve for four years and leave the state in better shape than we are even right now, I think our future is bright. I’m excited about being at the helm."

"I love state government because the work that we do, you can see the results, I'm close to the people that I serve, and this is where I want to be. So all the reports in the world don't change any of that. That's who I am. That's what my focus is, and I'm grateful to be right here."

"None of this happens in a vacuum, but those are a couple things that I think continue to be real priorities for me."

"Democrats were fighting to solve problems but also protect our ability to make our own decisions about our bodies. These are fundamental, core issues."

"The ability to decide when and whether to have a child is the biggest economic decision a woman will make."

"They want abortion to be a felony, no exceptions for rape or incest. That's the kind of legislature that I'm working with. That's the kind of matchup I'm going to have this fall. And that's why this is such a scary moment for Michigan women and our families."

"We will always work with anyone who actually wants to solve a problem because there's nothing more important than the people of this state to us — all of the people of this state."

"I can tell you we stayed focused on the fundamentals, right, whether it's fixing the damn roads or making sure our kids are back on track after an incredible disruption in their learning, or just simply solving problems and being honest with the people."

"A governor can't fix global inflation. But what we can do is take actions to keep more money in people's pockets, protect our right to make our own decisions about our bodies."

"She's a contender, If President Biden decides not to seek reelection, do not underestimate her chances for the Democratic nomination and the White House"

"Whitmer is Pabst Blue Ribbon with just the right measure of Merlot. There will no doubt be some governor in any post-Biden mix. I don’t spot another with more potential than Whitmer."

"It is really incredible about the depth of which they figure out what makes you tick, how you got to be where you are and what you did in every component of the course of your personal and professional life since you were in high school."

"New Mexico is at the breaking point."

"This old, outdated statute criminalizing health care providers is an embarrassment. That removing it was even a debate, much less a difficult vote for some senators, is inexplicable to me."

"The old criminal abortion law of this state, only one of nine left in the entire country, must go. Bring me that bill and I will sign it."

"The Supreme Court appears poised to overturn 50 years of constitutional protections for women to access to safe and legal abortions. This decision is catastrophic and will have consequences that will negatively impact generations"

"To have a federal administration that continues to attack, divide [the Latino community], and create racial unrest is disgusting."

"Our culture idolizes athletes, and God has really blessed my career. But at the end of the day, you want something that's eternal. We were made for so much more than fame or power, and coming to that realization has really made me say, "God, you know that’s best for me and that's what I want, too.""

"The study of religion opens the human capacity for beauty, meaning, and an awareness of something more than ourselves."

"Susan Harvey has almost single-handedly established an entire sub-field of studies on women and gender in the Syrian Orient."

"Marriage has played a critical role in the operation of the criminal justice system, including serving as a defense to crime and as a form of punishment"

"[ Gay rights, contraceptives, certain fertility treatments and even interracial marriage ] are imperiled because they’re all rooted in that right to privacy. All of this has been implied because they’re understood to be core, basic human rights. You don’t need the state to recognize them because they are vested in you by virtue of being a human."

"Just your weekly reminder that this won't end with abortion.... protections for same-sex marriage, contraception, and individual autonomy that are not explicit in the Constitution are up for grabs, too."

"One of the things that we need to take from this moment is that this isn’t just about abortion and it’s not going to end with abortion. But if we are going to register any kind of objections, we need a functioning, healthy democracy. And that’s the first thing that they have disrupted."

"Are we not allowed to be Palestinian on Instagram? This, to me, is bullying. I am proud to be Palestinian (from my father descendent)."

"{{cite news"

"Cartoons are a great medium for demonstrating just how absurd something is, without ever having to say it directly."

"My goal with 'Slowpoke' is to present a solidly-written piece of humor that usually entails some form of social or political commentary exposing distinctly ludicrous aspects of American life."

"Anyone who thinks there's no difference between Democrats and Republicans is a dingdong, Lots of people generalize that they're the same because they both pander to corporate interests. It's true: we live in a plutocracy condoned by a totally ignorant public...I'm not saying Democrats are perfect, but I think there are a lot of good, well-meaning people trapped in the system"

"A lot of my comics are informed by my background in cultural anthropology. That's what I majored in during college. I thought I was going to go to grad school and become a professor. There's a fair amount of overlap between cultural anthropology and cartooning, in that both are about observing culture and deconstructing all these things that we think are normal and set in stone. I've always found it fascinating to look at how we live and question why we do what we do. In college I started reading underground comics by Robert Crumb and Peter Bagge, and I was exposed to Matt Groening's Life in Hell and Roz Chast and Tom Tomorrow for the first time. I actually wrote my senior thesis about a womens' underground comics collective called the Twisted Sisters. One of my favorite cartoonists from this group was the awesomely funky Leslie Sternbergh, who I had the pleasure of befriending years later. Eventually, I got tired of writing papers and burned out on academia. I started to think that maybe I wasn't going to go to grad school, I was just going to draw cartoons."

"At first, my strip wasn't very political. But after the 2000 election and then 9/11, the news was so intense that it felt weird to not talk about it. That's when my comic started taking a more political turn. I wish I could do more cultural strips just commenting on everyday life, like facial hair and clothing. But nowadays, with everything so apocalyptic, I feel like I'm being frivolous when I do observational humor, although I still try to slip it in now and then. Politics for me is not so much about individual political figures. It is about these larger cultural phenomena. I feel conflicted about using Trump in cartoons. At first, I didn't even want to draw him. I don't want to normalize him. But then I developed this Trump caricature that people really seem to like... But I think he's more of a symptom of a larger process. I don't want to isolate him as the problem because he's just the tip of the iceberg."

"I know there have been some encouraging signs. I think people have come a long way even since I started cartooning-I mean, gay marriage wasn't legal when I started. I think our collective vocabulary for social justice issues has improved over time. So on a cultural level, we've made some progress. That keeps me going. I've had people tell me that I've radicalized their teenage daughters. But a lot of what I'm doing shouldn't even be considered radical."

"With all this talk of immigrants assimilating (or not assimilating) into "our culture," it's often implied that said culture is white and Christian. But if you consider that America is, in fact, a highly diverse nation of immigrants, the true outliers seem to be those who view the nation as a monolithic body resembling themselves. If anything, it is these folks who have not fully integrated, and who reject American values."

"Trump (and Bannon and other right-wing authoritarian leaders around the world) is often referred to as a "populist" because he displays faux concern for the working class and a resentment of science and education, but his policies are in fact grotesquely elitist. If by "populist" we mean whipping up resentment against immigrants and people of color, then we should say that. Otherwise, "populism" is just a lazy euphemism for racism."

"Very Serious Thinkers are still churning out hacky columns using this dumb binary of "big" vs. "small" government. I saw an ad for The Economist bemoaning the unfortunate necessity of "big government" during the coronavirus crisis. As though the specifics of context and what that government is doing and who it benefits is secondary to some abstract notion of "size. The more relevant divide is "good government vs. bad," or "smart vs. stupid/sadistic.""

"I’ve always been interested in politics, but when I first got out of college I just wanted to have fun and do non-political work. What happened was the Bush vs Gore election and the Supreme Court [decision]. That was the event that really shocked me into starting to do political cartoons. It was just so outrageous at the time. Then 9/11 and the Iraq War. I prefer doing a mix of straightforward political cartoons and more cultural cartoons about trends and facial hair and things like that. Now I feel silly doing a strip about beards. [laughs] Maybe things will calm down and I can go back to doing cartoons about facial hair. As time went on and politics became more and more dire, that’s what really sent me down that path. Also I started picking up more and more clients that are explicitly political, like dailkos and The Progressive Magazine and once in a while The Nation will run a cartoon. That pushed me in a more political direction as well."

"I’m doing a lot of worrying about humanity destroying itself these days. I think it is an important role of a political cartoonist. I think sometimes it’s probably more acute than others. It’s something that’s hard to deal with sometimes. Right now I find that these aren’t really funny times. There are ludicrous characters and you can make fun of Trump and these ridiculous nominees, but at the same time I don’t want to normalize him. I find myself not even wanting to draw him. I mean, I do and I will, but I don’t want to treat him like any other President. I’ve been struggling with that. How to be humorous at a time when things are just very serious. I guess what I wind up doing is somewhat darker humor, darker cartoons, and more informative cartoons that say, this is what’s happening, can you believe it? With the Bush administration things were terrible and there were definitely some dark times, but I felt like you could make fun of Bush for being a buffoon and the implications just weren’t quite as grave. It’s a different time now."

"When I first started out I wasn’t even really political. I just wanted to do surreal R. Crumb-ish comics. In the early days, I wanted to be as weird as possible. In the late nineties, in alt-weeklies, it seemed like we lived in times that allowed for absurdist humor. That would feel a little more frivolous now. Over time I feel like I have a greater sense of urgency to make a point and to tell the truth. Hopefully in an amusing way. I’m not trying to be as weird as I possibly can. I think I’m trying to make things a little simpler now, and more accessible."

"Print media started collapsing in the mid-2000s. When I first started out, it seemed like alternative news weeklies were the future of newspapers. It was a booming industry. It was a product of the nineties and that nineties mentality. At the time, I had a day job at the University of Virginia and I was sending my strip out and picked up one paper here and another paper there very gradually. I was building up a client list and then that fateful day where Village Voice Media dropped comics across the entire chain. I was actually spared the worst of that. I think I was just in the Village Voice at the time, but that was a big loss. Not that the pay was all that great, but it had been my goal to get into that paper. At the time I really wasn’t sure whether I would be able to continue, but then dailykos came along and picked up a bunch of alt weekly cartoonists and breathed some life into our industry online. They did really well on dailykos they were shared a lot and got good traffic and I think it set a precedent. Not that it was the first home for political cartoons online, but something about dailykos at that moment turned the tide a bit. A few more websites started running political cartoons – and paying fairly for them. People started realizing that they were highly shareable and that they could do well online. I’ll add that print has stabilized. At least it had stabilized under the second Obama administration. I actually added papers during that time. I wouldn’t say this is a growth industry. I think it would be very hard to break into now, but I did get the sense that print media had stabilized and some papers were doing okay. For me it’s really a hybrid now between print and digital. Certainly the digital side of things has grown the most in the past few years."

"[Editing has] been a real learning experience. I think it makes you a better writer. Suddenly viewing things from that editor’s perspective it makes you aware of so much. I guess I like it. I feel like years of doing comic strips and constantly having to simplify them to fit everything into four little panels has given me tools to look at a piece and cut out excessive verbiage and to get things as concise as possible. It has been really interesting suddenly wearing the editor’s hat and realizing how involved an editor’s job is and how many details they have to keep track of. It’s certainly made me more sympathetic to editors. We cartoonists like to complain about them, but it is a tough job."

"I, for one, think good political cartoons retain their value for decades. You can learn a lot from those old "Doonesbury" books. I might add that we cartoonists who lambasted the Bush administration from the beginning have been proven more accurate than most of the highly-paid gasbags you see on television. Historians and television producers, please take note."

"Many cartoons in this book are not overtly political. One can only write so many strips about torture before one needs to lighten up with a riff on Gucci flipflops. Lots of people seem to think we cartoonists will be struggling for material when Bush leaves office, but I will personally be relieved to get off this spiraling Swift Boat to hell."

"I'm also tired of being called a "radical," a word that even many otherwise-astute progressives apply to themselves. Since when is it radical to not want mercury in my tuna salad? Or to have an aversion to killing tens of thousands of innocent civilians unnecessarily? I'm the normal person here. The people running the country are the off-the-meter nutballs."

"I would like to propose a moratorium on the terms "values voters" and "moral issues." These are nothing more than Big, Fat Right-wing Euphemisms, and the media seem perfectly happy to deploy them uncritically. Such language falsely implies that progressives don't have values and don't care about morality, and that morality itself is pretty much limited to the circumstances under which people can bump nasties. As opposed to, say, dooming thousands of people to premature death every month from air pollution."

"one of my biggest pet peeves is the term "political correctness," a destructive, right-wing phrase that is parroted even by many socially-conscious types. It is a label loaded with bias, frequently applied with a broad brush to anything progressives stand for. In reality, right-wingers are masters of "political correctness": ridiculous euphemisms and denunciations of anyone who does not parrot their insane ideas. I find this political correctness, with its insistence on blind patriotism, to be far more pernicious."

"It's appalling how the puritanically correct in this country fixate on homosexuality to the exclusion of grave moral issues like the suffering of innocents in Iraq."

"Once upon a time, the U.S. government was distinct from the private sector. It seems almost quaint now, but elected officials actually tried to protect the public good and maintain a degree of ethics in the marketplace. Now, corruption is de riguer for even well-meaning politicians. If you ask me, the only way out of our current system of legalized bribery is with 100% publicly-financed elections. Compared to the Iraq War, this reform would cost nothing. And it might help us avoid such wars in the future."

"It must be nice to live in a world where the truth is whatever you want it to be. In addition to the former oil lobbyist's edits shown in the first panel, the Bush administration also watered down a 2005 G8 statement on global warming. One of the changes was the deletion of the opening statement, "Our world is warming." Global warming is a perfect example of something often treated as a "liberal" issue, one side of a two-sided argument. But it's not, unless you're pro-drowning the people of Tuvalu."

"Not too long after the Iraq War began, I read an article that quoted a Hummer "patriotic." I guess that's what counts as sacrifice for the war effort these days: driving an overpriced, gas-sucking monstrosity that resembles a military vehicle. I'm sure the troops appreciated this show of solidarity."

"I'm not sure how Bush's "ownership society"-that fun-sounding euphemism for paying for everything from your healthcare to your retirement out of your own savings-is supposed to work if people don't earn enough to own anything."

"Understanding Comics author Scott McCloud says we identify with stylized characters like Charlie Brown more than with photorealistic ones. I agree, especially when it comes to CGI animation and video games. Give me Mario and Luigi in the chunky, two-dimensional mushroom kingdom any day."

"This basic misconception is at the root of so many problems with our political discourse. I can't tell you how many times I've heard from people who think I'm an "America hater" because I criticize the Bush administration. These same people, I'm sure, hardly perceived criticism of Bill Clinton's presidency as an attack on the country itself. I guess mocking the guv'ment is acceptable only when Democrats are in the White House."

"This strip refers to the "War on Christmas," the rabble-rousing myth Fox News perpetuates every year, condemning those who dare to wish someone "Happy Holidays" instead of "Merry Christmas." Interpreting a small effort to be inclusive of, say, Jews celebrating Hanukkah as a declaration of war on Christianity is simply the height of chutzpah."

"There's often a "freedom from" that is the flip side of "freedom to." Isaiah Berlin wrote about this in his famous essay, "Two Concepts of Liberty." In an age when the word "freedom" is so abused, its double-edged nature is important to remember."

"I know it's my job to find humor in the gradual destruction of America as we know it, but I sometimes reach a point where I am so repulsed by the Bushies, and so exasperated by the Democrats, that I can hardly stand to draw cartoons about them. So I drew a cartoon about being sick of politics. Yes, even we cartoonists get discouraged."

"This is how politics works in the age of right-wing media domination: invoke a powerful stereotype, preferably in the form of a carefully-crafted sound bite, and people forget to think."

"It's a classic Republican maneuver: redefining massive global conglomerates as YOU."

"being opposed to poisoning humanity does not make one an elitist. Many progressives swallow the "liberal elite" narrative themselves, reproducing the right-wing frame. I call this participating in your own disempowerment."

"In my opinion, the EPA's lie to New Yorkers that the air was safe to breathe after 9/11 it was not was one of the worst when its own scientists suggested it was not was one of the worst crimes of the entire Bush era."

"Every so often, something happens that reminds you viscerally of the supremely unfair, amoral nature of the universe. For me, the death of Molly Ivins was one of those things. A genuinely funny woman with whom I agreed more consistently than perhaps any other pundit, Molly was often a source of inspiration to me. Her columns planted the seed for more than one Slowpoke cartoon."

"People are suckers for plausible narratives that confirm stereotypes, no matter how untrue they may be."

"Writers create so much value in the entertainment industry, it is criminal what a small percentage of the profits they get."

"As I mention in the strip, I'm not saying Iraq isn't important. It's pretty damn egregious if I say so myself. But as John Edwards has said, "It's time for us to be patriotic about something besides war." The news media tend to elevate the importance of military matters above domestic concerns (that is, whenever they aren't talking about coked-up celebrity bimbos). Issues that affect millions of Americans, like the bankruptcy bill, receive comparatively scant coverage."

"That so many people get their knickers in a bunch about other people's purported "laziness" while being grossly misinformed themselves has always struck me as a tremendous double-standard. Personally, I prefer the thought of my taxes going to some poverty-stricken place in rural America (where a majority of welfare dollars are spent) than to crooked contractors in Baghdad. But that's just me."

"the excesses of the credit card industry illustrate why we need consumer protections."

"overzealous worship of the 'magic of the market' becomes a religious belief system"

"One of the worst Bush administration acts you haven't heard about is their giving the green light to mountaintop removal mining."

"I'm ethically conflicted about eating something smarter than my dog"

"There have been exceptions, but most of the time the effort to reclaim a regressive epithet fails as a political strategy. Among the worst is "tree hugger." Not wanting climatic catastrophe has little to do with the quasi-spiritual groping of conifers, yet that is how those of us concerned about the environment have been stereotyped. I mean, I like trees as much as anyone, but the term "tree hugger" is dripping with connotations of hippie-dippy hysteria. Using it ironically to reclaim it from the anti-science crowd may make us chuckle, but it's still letting them define us on their terms."

"The GOP spends a lot of time trying to paint progressives as out-of-touch, ivory tower elites. But if anything, that distinction goes to the so-called "neocon intellectuals" like Norman Podhoretz, the inspiration for Dr. Plonk. In a 2007 Wall Street Journal editorial, Podhoretz said he prays "with all his heart" that we will bomb Iran, making the usual facile comparisons to World War II"

"Democrats remain consistently cowed by the threat of Republicans calling them "weak on terror." They're going to be smeared no matter what, so they may as well go on the offensive."

"The Bush administration flatly denies plans for "permanent military bases," which according to the Opposite Rule that applies to everything the Bushies say, means we are building permanent military bases."

"The presidential primaries are not for the thinking person. All the nonstop chatter about the candidates' temperaments makes me wonder why I even bother to learn about things like, you know, issues...In this precarious time of war, global warming, a health care crisis, and economic woes, this is how we decide the leader of the most powerful nation on earth?"

"When the most privileged and powerful members of society can escape the hassles and declines in service the rest of us must put up with, there's that much less impetus for change. Some might say, "They're paying for it. Get over it." While I understand that reasoning, it seems limited in scope, failing to question the larger system that created the neo-aristocracy in the first place."

"We cartoonists have a term for the instances when multiple cartoonists inadvertently draw the same thing: a Yahtzee."

"As someone who studies race and the right, I have found that Democrats and progressives, expecting demographic change and rising diversity to tilt the country leftward, have failed to take seriously how that change is not at all a given...Communities of color are simultaneously victims of, participants in and practitioners of the violence practiced within and beyond our nation’s borders...Communities of color have an intimate history with violence, from massacres of Native Americans and chattel slavery to anti-Asian violence, police killings and the deaths of migrants on the border. But communities of color are not monolithic, and their responses and relationships to that violence mirror that very diversity."

"What are we to make of [Enrique] Tarrio — and, more broadly, of Latino voters inspired by Trump? And what are we to make of unmistakably White mob violence that also includes non-White participants? I call this phenomenon multiracial whiteness — the promise that they, too, can lay claim to the politics of aggression, exclusion and domination."

"Before Trump, conservatives seeking to appeal to Latinos typically embraced the politics of conservative multiculturalism. Politicians such as George W. Bush reached out to Latino voters by showing a familiarity with their language and history, emphasizing the values of diversity and inclusion. Depicting Latinos as a distinct and valuable part of America’s democratic mosaic, conservative multiculturalism connected Latino culture to Republican values, emphasizing conservative approaches to faith, patriotism and the traditional family. Trump, by contrast, knows nothing of the history of Latinos in the United States and rarely even pretends to find value in Latinos’ distinct identities. Rather than offering his non-White voters recognition, Trump has offered them multiracial whiteness."

"Multiracial whiteness reflects an understanding of whiteness as a political color and not simply a racial identity — a discriminatory worldview in which feelings of freedom and belonging are produced through the persecution and dehumanization of others."

"whiteness is not the same thing as white people and that whiteness is actually better understood as a political project that has emerged historically, and that is dynamic and that is always changing. And so whiteness as an ideology is rooted in America's history of white supremacy-which has to do with the legacy of slavery or Indigenous dispossession or Jim Crow. And I think it's important to realize just how long in this country legal discrimination was not simply culturally acceptable but legally authorized. And so we've only been practicing a more consistent form of legal equality for a relatively short time since the 1960s. So Americans have often learned how to create their own sense of belonging through violence and through the exclusion of certain groups and populations."

"I think that one of the things that's interesting about the politics of multicultural conservatism, for example, is that multicultural conservatism - which is the kind of conservative politics of reaching out to other racial minorities practiced by folks like Jack Kemp or George W. Bush - was an effort to recognize the specific histories and backgrounds of particular racial populations and to say that they could be part of the GOP. And I think that one of the things that's interesting is that there's a segment of people of color who don't necessarily want to be recognized at all. They don't want to be recognized for their racial distinctiveness-that for them, the very act of sort of identifying them as Latino, as African American - that they themselves have a certain discomfort with that very logic. They want to be understood as simply Americans outside of those kinds of identity categories."

"I think that one of the big political divides we face right now is people who find the very act of talking about those histories of racial exclusion as divisive because the act of talking about it and acknowledging it produces a kind of defensiveness or anger - and even discussing it, the idea that unity should be practiced from sort of not engaging with our history, not - sort of celebrating the best stuff and not really acknowledging that we have a complicated, beautiful, tragic, inspiring inheritance that we have to understand to go forward."

"What I actually find helpful about theorizing and talking about whiteness as understanding that the politics of whiteness is distinct from white people is I think it actually opens up and expands our political possibilities going forward because we're not actually trapped in our identities or our demographics. It means that white citizens can - and many are - rejecting the politics of whiteness and working with communities of color to forge a multiracial democracy. But we have to understand this complicated and tragic and also beautiful shared inheritance we have. If we want to build something new together, we have to understand where we've come from."

"Today, the variability of white identity is visible in the growing rupture between white citizens who support the politics of white democracy and those increasingly appalled by racist and xenophobic appeals to whiteness. (p 21)"

"Majority-white schools, neighborhoods, and community institutions were made white through violence; racialized exclusions; and the denial of equality, opportunity, and legal protection for nonwhite populations. (p 18)"

"Limited by a scarcity logic in which migrant flourishing means citizen hardship, nativists in the thrall of whiteness presume that migrant movement will invert the practices of white democracy, causing whites to "lose their country." Trapped in their own fears and fantasies of domination and racial terror, nativists can't help but conjure Latinx migrants as subjects planning to inflict a vengeful politics of invasion, replacement, and reconquista. (p 114)"

"Emphasizing standing and status rather than political participation and collective action, white citizenship continually constrains the meaning of both democracy and political freedom. (p 118)"

"Rather than envisioning and enacting a better and more beautiful world, white democracy's vision is defined by scarcity. In the logic of racial replacement, nativists imagine social goods within an economy of exclusion and democratic forms of denial; there is no sharing of power; there is only one majority "taking control" from the other. (p 119)"

"when it comes to finding joy, who you're with matters more than where you are. (Acknowledgements)"

""Hispanic" and "Latino" are terms whose descriptive legitimacy is premised on a startling lack of specificity. The categories encompass any and all individuals living in the United States who trace their ancestry to the Spanish-speaking regions of Latin America and the Caribbean; Latinos hail from Colombia, Mexico, Paraguay, Puerto Rico, and beyond-more than twenty countries in all. Such inclusivity is part of the problem: "Hispanic" and "Latino" tell us nothing about country of origin, gender, citizenship status, economic class, or length of residence in the United States. An undocumented immigrant from Guatemala is Hispanic; so is a third-generation Mexican American lawyer. Moreover, both categories are racially indeterminate: Latinos can be white, black, indigenous, and every combination thereof. In other words, characterizing a subject as either "Hispanic" or "Latino" is an exercise in opacity-the terms are so comprehensive that their explanatory power is limited. When referring to "Latinos in the United States," it is far from immediately clear whether the subjects under discussion are farmworkers living below the poverty line or middle-class homeowners, urban hipsters or rural evangelicals, white or black, gay or straight, Catholic or Jewish, undocumented Spanish monolinguals or fourth-generation speakers of English-only."

"Both Chicano and Puerto Rican activists continually stressed the importance of community control of local institutions, arguing that oppression and inequality would never end until Chicanos and Puerto Ricans controlled the institutions that directly affected community life."

"Poetry such as "Puerto Rican Obituary" highlights another significant aspect of movement thought: the shift from cultural shame to ethnic pride. Unlike earlier critiques of prejudice and discrimination, movement rhetoric and writings often focused on the emotional and psychic damage of racism, exploring the need toovercome internalized shame and self-hate."

"The Puerto Rican movement of the 1960s and 1970s can be defined by its consistent calls for a radical transformation of U.S. society while simultaneously promoting the independence of Puerto Rico. Known as El Nuevo Despertar, this "New Awakening" of Puerto Rican radicalism was inspired and shaped by the growing militancy abroad and at home. Black Power, youth unrest (particularly against the Vietnam War), the War on Poverty, national liberation struggles in the Third World, Chicano and Native American militancy, gay and lesbian rights, and second-wave feminism are all part of the context that shaped the movement."

"The movement's institutional legacy can also be seen in the realm of higher education: Chicano and Puerto Rican studies programs are the product of these movements and continue to play a key role in providing Latinos with a "civic education" that both politicizes and produces particular conceptions ofLatino identity and subjectivity."

"During the late 1960s and 1970s, Mexican American and Puerto Rican activists put forward a politically charged critique of American politics. Bringing together a paradoxical mix of cultural nationalism, liberal reformism, radical critique, andromantic idealism, the Chicano and Puerto Rican movements created a new political vocabulary, one emphasizing resistance, recognition, cultural pride, authenticity, and fraternity (hermanidad). The movements-organizations, issues, and events left a profound legacy."

"Unlike the civil rights struggles of African Americans or the protest politics surrounding the Vietnam War, the Chicano and Puerto Rican movements represent a decidedly underexplored aspect of 1960s New Left radicalism. Outside of the communities themselves, the names, places, and events of these two movements are virtually unknown."

"In challenging traditional gender relations, many Chicana activists were accused of being lesbians, 'white identified,' narcissistic, and antifamily."

"1980s feminism focused on questions of difference and making the category of women more inclusive"

"It is my contention the category ‘Latino,’ like the category ‘women,’ should be reconceived as a site of permanent political contestation"

"Rather than speaking in terms of specific and distinct subgroups (Mexicans, Cubans, Puerto Ricans, Dominicans, etc.) ‘Latino’ and ‘Hispanic’ have become the shorthand designation of choice among journalists, politicians, advertising executives, academics, and other influential elites."

"Cristina Beltrán's powerful book The Trouble with Unity is timely for our age of Obama in which an ugly anti-immigrant spirit looms large."

"As an African American clinical psychologist and researcher, it has become evident that we have not been meaningfully included as research participants or researchers in scientific studies, and our voices have not been part of the conversation as these medicines move into mainstream mental health care."

"Many have heard of the Tuskegee Study of Untreated Syphilis, but few know about the facility dubbed the "Narco Farm.""

"There were over 500 published studies that came out of ARC from 1935-1975, testing the limits of human tolerance for psychedelics, opiates, and amphetamines on prisoners.' Dr. Isbell's studies included dangerously high and prolonged doses of LSD on his subjects."

"I hope that somewhere in the recesses of our cultural consciousness, there still exists some memory of the valuable psychedelic traditions cultivated by our African ancestors and nature's many gifts that have been lost somewhere between North America and the Middle Passage."

"There has been much written about the Indigenous use of plant medicines from Mexico and South America, but psychedelics have been used across cultures and eras. Psychedelics were used in Biblical times to anoint priests and kings, and they have also been used for thousands of years in African cultures. During slavery, Yoruba women from West Africa performed healing roles using their knowledge of plant medicines derived from Africa. During current times in Ethiopia, all plants are believed to possess some degree of medicinal usefulness, and medicinal plants occupy a central place in their traditional healthcare system. Many plants are bred and conserved in sacred community gardens, and families also keep small home gardens. This includes an array of flora for medicinal purposes and important psychoactive plant medicines for psychological and even spiritual problems."

"In southern Africa, there is widespread reliance on ubulawu as psychoactive spiritual medicine used by Indigenous people groups, such as the Xhosa and Zulu, to communicate with their ancestors and treat mental disturbances. Ubulawu, an ancient African plant medicine, is composed of the roots of several potent plants that are ground and made into a cold water infusion, churned to produce a healing foam."

"There is such a rich tradition of plant medicines in Africa that it is clear Black people have benefited from psychedelic plant medicines for a very long time."

"It is true that it has not always been safe for us, but I hope we can come together as a people, create our own safe spaces, and become empowered to reclaim psychedelic healing for ourselves, our loved ones, and our communities."

"How the past is unveiled and represented by an oppressed group or community is an essential component of constructing a collective historical memory that inspires their present and future spheres of activism and resistance. Building a historical memory, however, is always a rugged and convoluted terrain of contesting claims, but moreso for those populations that have endured the coloniality of being silenced and are seeking to voice their untold stories and, in this way, contribute to the production of new decolonial knowledge."

"it was important to revisit and decolonize the dominant historical record, and envision new emancipating knowledge and decolonial imaginaries."

"It was from these friendships and the multiple fronts of activism of what we now call the Puerto Rican Movement that I was able to solidify my own emerging research and teaching interests in the process of unveiling new decolonial knowledge about women and the Puerto Rican diaspora. The social and political movements that bourgeoned within the stateside Puerto Rican communities in the late 1960s and 1970s allowed many island Puerto Ricans who migrated to New York during those years to reach a better understanding of the conditions, hardships, and survival and liberation struggles afflicting the hundreds of thousands migrants who had settled in the city during the previous decades. In the frontlines of these struggles were the Young Lords Organization (later transformed into the Young Lords Party and the Puerto Rican Revolutionary Workers Organization), the Puerto Rican Student Union (PRSU), El Comité, and Resistencia Puertorriqueña, to name a few. Although their primary sphere of action was New York City, their fighting spirit and claims for social justice rapidly spread to other US cities with large concentrations of Puerto Ricans. These groups carried the banners of struggle and resistance on behalf of impoverished and disenfranchised stateside communities where Puerto Rican migrants had settled and for the liberation of Puerto Rico."

"The nationalistic sentiments underlying the messages displayed in the Puerto Rican flag, the pinned buttons, T-shirts, and berets of Puerto Rican youth validated the roots and identities of those who had left the island but carried the island in their hearts. The slogans "Tengo Puerto Rico en mi corazón, "I'm Proud to be Puerto Rican," "Puerto Rican Power," "Qué Viva Puerto Rico Libre," "Free Puerto Rico Now," "Despierta Boricua, Defiende lo Tuyo" (Wake up, Boricua, and defend what is yours) and "¡Jíbaros Sí, Yanquis, No!" were proudly and defiantly flaunted throughout the Puerto Rican barrios of New York, Chicago, Philadelphia, and other cities where the Young Lords were making their presence felt."

"The word palante (a colloquial abbreviated version of the Spanish phrase para adelante, meaning moving forward) was a call to revolutionary action and the battle cry of the Young Lords. The rallying term was also adopted as the title of their bimonthly newspaper, which rapidly made its way to the streets of our communities, the offices of many agencies and organizations, and the halls of our schools and universities."

"The Palante documentary is now regarded as a classic source for learning about the sparsely recognized participation of Puerto Ricans in the US civil rights movement, and a staple of many classrooms in secondary schools and colleges (including my own). In sum, ¡Palante, Siempre Palante! opened the door to understanding the linkages between Puerto Rican migration and the dynamics of a long-standing US colonial domination over Puerto Rico, its control of the island's economy, and the oppressive nature of the internal colonialism Puerto Ricans face in US society. Developing consciousness about pervading class, racial, and gender inequalities inevitably leads to envisioning ways in which effective grassroots collective organizing and political engagement can bring about significant social transformations at the local and national levels, and also reaffirm the histories of oppression and resistance of marginalized peoples."

"Morales unveils what was until now, an unaccounted counter- narrative of the Young Lords. Painstakingly, what is historically a common pattern within these movements reveals itself: there is a tendency for women members to be pressured into acquiescing to a male leadership that claims that discussion of any issues related to women's subordination must always be subsumed to the ostensibly "wider" or "more important" class-based liberation struggles of "oppressed peoples.""

"When referring to the masses, must men always be reminded that women represent slightly more than half of the world's population?"

"Predictably, the pattern of relegating women's issues to a secondary position or viewing them as "detracting" or "divisive" to a "greater" cause is by now a deeply rooted cliché. Just as achieving some degree of class and race consciousness is a prerequisite to understanding class and racial oppressions, developing a feminist consciousness is also a precondition for both progressive women and men to comprehend women's sources of oppression, unequal treatment, and diminished presence in historical narratives."

"Oppression will always breed different forms of mobilization and organizing, protest and resistance. Building a historical memory of Puerto Rican struggles against different forms of subjugation is an indispensable component of envisioning those new paths and moving forward."

"After all, la lucha continúa (the struggle continues). It is hard to ignore the fact that the civil rights struggles that we were part of during our younger years to eradicate all kinds of inequalities, are being eroded in the present by unleashed backlashes in a US society still afflicted by a widening gap between the poor and the wealthy, and between the white population and rapidly growing populations of color. A swarm of right wing politicians and the corporate capital that controls their political campaigns want to turn back the clock on the most significant changes and accomplishments that came out of the US civil rights movement-whether by enacting legislation to limit or suppress the electoral power of Latinos/as and African Americans, gerrymandering districts to favor white voters, demonizing immigrants and fostering xenophobic, racist, and undemocratic discourses, infringing upon the reproductive rights of women, weakening unions, opposing increases in the minimum wage, curtailing all the government programs that benefit the most needy sectors of US society, diminishing opportunities to climb the socioeconomic ladder and thus shrinking the middle class, refusing to accept the catastrophic effects of climate change, and favoring laws that facilitate and perpetuate an insatiable accumulation of wealth by the white privileged elites and the corporate sector. A complicitous right-wing media only adds fuel to these ideological crusades by propagandizing similar positions, and fostering demagoguery and fearmongering against culturally and racially diverse populations and immigrants."

"Because a capitalist economy compels perpetual growth, no reforms or adjustments can make it sustainable."

"Exposing capitalism's effects, such as global warming and pollution, is one crucial part of building a movement to transform society. That was my goal with these cartoons when I drew them during the years 2009-2012."

"Today there are ever-increasing numbers of people doing this, which is very encouraging. But if we are to find viable solutions, we must do more than describe symptoms and warn of dire consequences. We must get to the root of the problem: figure out how to end global capitalism and eliminate the class divisions that enable private wealth accumulation."

"Profiteers will never change through persuasion. Only by all of us stepping up to build a broad mass movement, with workers in the lead, can we become strong enough to challenge, defeat and overthrow the class currently in power."

"Most of us in the US don't understand populism or many other concepts relevant to political struggle. Even those of us who are active lag far behind much of the world in our grasp of theory-we don't recognize views as coherent lines, and therefore we're incapable of calling them by name, much less foreseeing their far-ranging implications. But we can't keep blithely disdaining the use of "jargon." These words may feel cumbersome and persnickety in our casual, 140-characters-or-less, news-o-tainment culture, but their precision allows us to conceptualize, identify, and decide to accept or reject ideological and political phenomena that could make all the difference to our eventual success or failure."

"We need to build a multi-tendency alliance if we're going to win, that embraces reds, greens, anarchists, anti-oppression activists of all kinds."

"We need to make land public, and collectively controlled by the people. The system wants us to be sick and dysfunctional; we need to take control of our health and not accept toxic food."

"it's only when we can collectively provide for our own needs that we can break our dependency on the capitalist system and create an alternative to it that works."

"We need to take back the means of subsistence that they tore from us-for most of us, many generations ago. We need access to land, and to reconnect with the living world in mutually beneficial ways, re-learn how to live within (and preserve the health of) our bioregions."

"The development from uprising to revolution is never linear or smooth. Ebb must follow surge, yielding ground temporarily in order to consolidate power for the next wave."

"what is certain is that the structural crises and inequalities that gave rise to the global uprisings in the first place will only intensify."

"Life runs much faster than our ability to record and interpret it."

"STUDY HISTORY AND POLITICAL THEORY RELENTLESSLY. We do ourselves no favors by being ignorant of the past experiences and summations of those who came before us."

"New possibilities develop through taking action. We can't conjure strategy out of isolation;"

"Environmentalists for Black Lives Matter” “Social justice cannot wait,” the caption stated. “It is not an optional ‘add-on’ to environmentalism.” “It is unfair to opt in and out of caring about racial injustices when many of us cannot."

"We should care about the protection of people as much as we care about the protection of our planet-to me, these fights are the same. As a society, we often forget that humans are a part of our global ecosystem and that we don't exist separately from nature; we coexist with it each and every day."

"Unfortunately, as with other animals, some humans are endangered and facing a multitude of social and environmental injustices that impact their ability to not only survive but also thrive in liberation and joy. Why, then, are conservation efforts not extended to the protection of endangered humans and their human rights? This is a question I've struggled with as a Black environmentalist for years, because in my environmental practice, caring for the earth means caring for its people."

"If we combine social justice efforts with environmental awareness efforts, we will harness enough power, representation, and momentum to have a shot at protecting our planet and creating equity at the same time."

"The lack of representation of Black, Brown, Indigenous, Asian, low-income, LGBTQ+, disabled, and other marginalized voices has led to an ineffective form of mainstream environmentalism that doesn't truly stand for the liberation of all people and the planet."

"it's evident that social justice and environmentalism are deeply intertwined and that addressing this interconnection is crucial for attaining justice for both people and planet."

"Social injustice and environmental injustice are fueled by the same flame: the undervaluing, commodification, and exploitation of all forms of life and natural resources, from the smallest blade of grass to those living in poverty and oppressed people worldwide. It's a point that many ecofeminists, environmental justice scholars and leaders, Indigenous rights and land sovereignty advocates, and climate politicians have argued for decades, but it hasn't been embedded deeply enough in modern environmental education."

"I didn't want to be an "environmentalist" if that meant I had to choose between racial progress and environmental progress."

"Those least responsible for the climate crisis are bearing the brunt of it."

"It is time to dismantle and reflect on what environmentalism means and reclaim the term so that it is inclusive of historically excluded and underrepresented people."

"Our identities flow through our politics, our advocacy, what we care about-whether we realize it or not."

"it's truly my biggest hope that one day in the future we won't need to preface "environmentalism" with the word "intersectional"; we won't need to create separate safe spaces and curriculums that seek to be inclusive. One day I hope that when people think of an environmentalist, they'll automatically envision a person who cares very deeply about both people and planet."

"The future can and will be intersectional."

"Hazel M. Johnson's work helped lay the groundwork for climate justice around the world, as well as for an intersectional approach to environmentalism. It's important to also note that she was met with sexism, racism, and classism throughout her career, and has been omitted from many environmental textbooks. As intersectional environmentalists, we are now presented with the opportunity to recreate what environmental education should look like, and we can work together to honor stories like Johnson's to ensure that her legacy, and those of other BIPOC environmentalists, lives on...Another pivotal voice in environmental justice history is its "father," as he's often dubbed, Dr. Robert Bullard."

"What is the impact of having large-scale environmental movements that mostly exclude the voices of the underrepresented and people of color?"

"A mentor of mine once said, "Even the revolution needs accountants." This made me laugh, but it's true! We can each contribute our skills in some way."

"Together, we can transform the future of environmentalism and, with collective action, spread our message across the globe and change enough hearts and minds to positively alter the future."

"Environmentalism was largely a white, middle- and upper-class movement that wasn’t super intersectional. Then after that, in the 80s, we see an emergence of a primarily BIPOC-led environmental justice movement that is trying to address some of the inequity in environmental policy that was really facing Black and brown communities. I think having that context would be really important because the way that it was taught to me was like, ‘there was this environmental movement and it just happened,’ but no kind of nod to the civil rights movement."

"I would say learning is the first step and, honestly, the most fun step. Learning about the history of the environmental justice movement and learning about those cool heroes who deserve to have their place in environmental history. It’s also really important for folks to figure out and get involved with what’s going on in their local communities. You might be surprised, if say, thirty minutes down the highway the air pollution is completely different. Overall, people should look at their local communities, educate themselves, and really have fun with it."

"I had to leave my community in order to have access to the right education, nature, green spaces, clean air. And I think that instilled something in me early on."

"We know it’s going to take all of us and not just a select few."

"I was so frustrated during this second wave of the Black Lives Matter movement [in the Spring of 2020] because the environmental community was largely silent. So I posted the Environmentalists for Black Lives Matter graphic, along with my definition of intersectional environmentalism, and also an intersectional environmentalist pledge and I put it out there."

"If you look at the 1960s and 1970s, there was the civil rights movement, and then there was the environmental movement right after, which was largely white-led. They appropriated the same tactics that they learned from civil rights protestors. And then, of course, we have the first Earth Day, which is super amazing, but if you look at pictures, you see white people wearing headdresses. And now we’re at a different point in history where we have in 2019 and early 2020, the biggest climate marches, and then right after that, side by side, we have another civil rights movement happening at the same time."

"It’s important for people to realize that if they want to use their privilege in the right way, amplify the voices of the people who have historically been unheard."

"I think when a lot of people learn about environmental racism, they think, “How can I save these people?” But they don’t think about “What have I been ignoring to allow this to happen?”"

"It doesn’t matter if you’re living in a city, you’re still in nature. A lot of white environmentalists still view nature as something that they go to, instead of thinking, nature is all around me. And that means that nature is also all around these different communities of colour, even if they’re living in a city."

"I got the term “Intersectional” from Intersectional Feminism*, which is a type of feminism that I identify with. I feel like intersectional feminism shouldn’t have to exist, nor intersectional environmentalism, but because some people in both circles don’t factor in how race and culture can play a significant role in how people are treated or interact with the environment, it needs to be there. For example, people of colour are more likely to live next to toxic waste sites or in areas with higher levels of water and air pollution. I’ve spent the past 6 years in Environmental circles and have been frustrated at times by the lack of acknowledgement of its importance, so I felt like I needed to give words to the type of environmentalism that I practice and would hope all environmentalists adopt."

"I studied Environmental Science and would much rather focus on urgently addressing the climate crisis, but I cannot when I’m fearful for my life and that of those who look like me. I would much rather dedicate my life to fighting against extractive industries than fight for my right to exist in this world. I wish that was just understood as an inherent principle in society."

"For someone who is just getting started, they can start with educating themselves and reading literature about environmental justice and allyship."

"Oprah 100%, I’ve always looked up to her and adore her so much."

"Living without freedom is so deeply corrosive not only to society but to the human spirit. In a certain sense, I am multi-cultural, but I am not culturally relative."

"El Espanol que yo hablaba era un Espanol que los Conquistadores trajeron aqui, verdad, porque era “vide por vi; ansina por asi”, and when I went to school and started to learn Spanish, I had an awful time, because some of these teachers were not from the city or from Texas. They were from the east, you see. And they’d tell me, “Senorita, usted no sabe hablar el Espanol, verdad?” And they mixed it up with this Texas-Mex and that sort of thing."

"It wasn’t until the ‘30s that Spanish began to be taught in the schools – in the high schools. And there was a woman by the name of Esther Caravajal who wrote one of the first text books for the teaching of Spanish in the schools here."

"What really kept us (our neighborhood) together was the church – St. Agnes."

"Remember this – we didn’t have radios, we didn’t have this, we didn’t have that, we didn’t have a lot of things. So, this going to the plaza and just listening...(to people) speak to a crowd"

"Remember, at that time here, ’24, the Palmer raids, the Ku Klux Klan"

"The Klan was very, very strong here, particularly on this side of town."

"In 1929, the Wall Street crash; in 1932, the closing of all the banks... My grandfather lost some money in one of them, and he didn’t tell anybody. The person he told, I mean...he came over to me and told me, he says, “I’ve lost everything I have.” And he was already about, I guess, 65, close to 70. So, I don’t know, I felt that had an awful effect on me."

"I felt at first that I was more of an anarchist than anything else. And this came from the anarchist movement here;...The Magonistas, at one time, had about...I think they had about thirty or forty papers throughout south Texas, yes. And I remember the Wobblies, too. I know Mother Flor and Mother Jones were from here, from what I have read, so they work. Then you had some labor unions here. Not too many, but you did have railroad workers; and at that time, there were quite a number of railroad workers; and at that time, there were quite a number of railroad workers who were Mexicans."

"I had become very, very interested in the labor movement. I mean, I had...first there were the anarchistas and so forth. And then you had, also, the influence in the CTM [Confederacion de Trabajadores de Mexico]."

"It’s only recently that I have been able to talk about some of the things that I saw here. I mean as far as poverty – because it was just too difficult."

"I just have a feeling, a very strong feeling, that if ever this world is civilized, that it would be more the work of women."

"I don’t think that women will ever be completely and totally free – or any of the minorities – until you have socialism."

"Look, it was not the Black, the savages or the Indians who brought about a government such as the Hitler regime...I think after four, almost five hundred years of European domination that this next period would be one of revolt against European domination. And there are lots of lives being lost in Nicaragua and these other places."

"I read quite a bit. I would say I read, well, I didn’t read all of Das Kapital, but I read that and Price and Profit, Wage, Labor & Capital, so I had an idea of how capital was made; how it was used, and so forth and so on."

"The question was always one of land, and it wasn’t tackled in Mexico until the time of Cardenas. And it wasn’t tackled in Cuba until Castro."

"Theodore Roosevelt...he was an imperialist, but he had a liberal approach."

"You had this factionalism all the time."

"Any effort of the Mexican workers to organize was met with brutal force, from the very beginning."

"1938 was the hardest year because by that time the Depression had really struck every city, every place."

"The Workers’ Alliance was an organization for the unemployed. And I think it did a tremendous job, because all of the housing projects that are here are due to the Workers’ Alliance...they were organized by the Communists and Socialists."

"I was removed; because I was a Communist, I was removed from leadership of the Workers’ Alliance of the CIO."

"There were spontaneous strikes. You don’t have those if you have a good organizer."

"If I had to give any credit to myself, I would say that I was a darn good organizer, and if I did it was because I read the works of the...I read quite a bit about the anarchists’ organization."

"The Wobblies could come into a town and establish free speech. They’d bring in...one would come by railroad then – ride the rods and so forth and so on – they they’d come into a town. They had one group that would go out. That group would be arrested. They’d get another group to get up and speak, and then another group would fill the damn jail. And you had lawyers there."

"We’ve been spending too much money on armaments. We haven’t had any peace since World War II. We had troops in Korea, Vietnam, South American, Europe. We cannot continue to do that."

"I was beginning to miss more and more meals, so...I’ve come from a family of eleven; I was one of the oldest. I couldn’t get a job, I couldn’t help, I couldn’t do anything, so I left San Antonio. I went to San Francisco and stayed there for twenty years, and to my surprise, I return and I find myself some sort of a heroine."

"I would like to see a history...not just of the Communists but of the Left Wing movement and its narrow, factional, sectarian approach."

"I attended one convention, that was all. The woman for whom I had the greatest admiration was, of course, Elizabeth Gurley Flynn. The man for whom I had the...was not Browder, who was the secretary, but was Foster – William C. Foster...along with those heroes whom I did have – women heroes – Mrs. Roosevelt, Amelia Earhart, Babe Diedrickson"

"I would say that the times are absolutely different. Unfortunately, American history books, especially at the high school level...and I examined about three of them here in 1968, I haven’t examined any since then. But they were not analytical. They were not critical. You will find history books that will tell you we still don’t know why the Depression occurred – a world-wide Depression. England went on the bill. Certainly, World War I had a lot to do with it. Why did we have a World War II? The unbearable, actually, the unbearable load or money that Germany had to pay us, which actually stripped their economy. Germany never had what you would call a true democratic society."

"It would be difficult to say that minorities have not advanced. You will find quite a few members of the state legislature, a few senators, but quite a number who are Mexican. You will find a number who are in the Senate. You will find a lot of Blacks. But, again, you have a split there; you have a split."

"I have expected my country, your country, to become the scientific Athens, but I don’t think that will be the case."

"I once read that people from...among those graduates at West Point you wouldn’t find any liars and cowards: you get Poindexter; you got North. I mean, these guys filled their minds that covert actions, terrorism – the same type that we’re trying to fight"

"(Ronald Reagan is) nothing but a bag of hot air."

"But where are the intellectuals: Where are the Clarence Darrows?...Where are all of those writers who went out and picketed when Sacco and Vanzetti were put in jail? You see, we do have a big movement against war. Against nuclear war, in particular. But I just don’t know...if I could see in the future somebody who could take the presidency and have a knowledge of the program... I would hate to see another Carter or another movie star, because they don’t know foreign policy; they don’t know history."

"Chicana labor leaders and politicians, like Denver's Dolores McGran González, testified before congressional committees, ran for local office, and served as national delegates to the Progressive Party Convention in the late 1930s. Other women who have become models of female-inspired activities of the period are Dolores Hernández, who was killed on October 10, 1933 during a strike of 15,000 farm workers in Visalia, California. Another woman labor union leader made history in 1936 when she led pecan sheller strikers in San Antonio in a successful strike effort. Emma Tenayuca Brooks, then a 17-year-old labor organizer and orator, became a beacon of hope to beleagured workers throughout the United States. For her efforts, she has had to live 40 years in obscurity and anonymity. In civil rights and educational reform, a strong women's advocate, Mariá L. Hernández of Lytle, Texas, worked tirelessly throughout the 1930s demonstrating, speaking, and protesting the educational status of Mexican-Americans in the United States."

"Communist Mexican-American labor activist Emma Tenayuca, "the Passionflower of Texas," led protests, walkouts, and demonstrations to protest the deplorable working and living conditions that Latino workers faced in her native San Antonio...Like many labor activists of her generation, Tenayuca was later blacklisted for her political affiliations, but there was no erasing the impact she'd made on San Antonio and the labor movement as a whole."

"Less than five feet tall, she was a powerful speaker and excellent writer, lovingly called La Pasionara (the Passionate One)...Emma became chair of the Texas Communist Party, then a strong voice for the oppressed. Forced to leave Texas by Red-baiting, she returned later to be a teacher and a beloved inspiration always."

"The 20th anniversary Chicano Activists Reunion organizers had made efforts to recognize women's accomplishments. The featured speaker at the Labor Lunch and guest of honor at the banquet was Emma Tenayucca, the young leftist heroine of the huge Mexican pecan shellers' strike in San Antonio in the 1930s, called "La Pasionaria" by local people, and now in her 80s."

"As a twenty-three-year-old member of the Workers' Alliance and secretary of the Texas Communist Party, Emma Tenayuca emerged as the fiery local leader. Although not a pecan sheller, Tenayuca, a San Antonio native, was elected to head the strike committee. During the six-week labor dispute from 6,000 to 10,000 strikers faced tear gas and billy clubs "on at least six occasions." Emma Tenayuca courageously organized demonstrations and she along with over 1,000 pecan shellers were jailed. Known as "La Pasionaria," Tenayuca, in an interview with historian Zaragosa Vargas, reflected on her activism as follows: "I was pretty defiant. [I fought] against poverty, actually starvation, high infant death rates, disease and hunger and misery. I would do the same thing again.""

"Fannia Cohn’s service to our organization is only recognized by those on the outside who can dispassionately evaluate such unselfish efforts on the part of one person for the cause of worker’s education. She remains a tragic figure amidst her own fellow workers…Were she a man it would have been entirely different."

"May I state at the out-set, that I always regarded the Hearst press as yellow, violently anti-labor and reactionary? In the course of my organizing activities in several parts of this country, the Hearst press consistently attacked us, blaming the ILG and its organizers for instigating strikes, causing people to lose their jobs, livelihoods, homes, etc. As last as 1936, the Hearst press, writing about the leadership of the CIO in the Roosevelt campaign attacked our ILG and its leadership, including yourself, as Communists. (I was given the distinction of being an Anarchist and a friend of Emma Goldman, an honor I shall never deny.) I recall that in 1927 a similar stunt was performed by Hearst in printing the story of the lives of Sacco-Vanzetti, who were electrocuted, the articles notwithstanding. The Hearst press has already been on the decline for several years because the awakened labor rank and file refused to be bull-dozed any longer. Today, the printing of your story in the classic Hearst sensational style, is simply giving his yellow, reactionary press a new lease on life, to say the least. I followed the articles and must admit that Mr. Joseph Mulvaney, the fellow who induced you to consent to his writing these stories, will be handsomely rewarded by Hearst, for the circulation will surely jump a score of thousands or more. do not know what objectives you aim to reach in consenting to be publicized in such a fashion, save one-to give the writer a chance to earn a living (is he at least a Union man?)"

"I was always considered a "shaigitz" when I was young and as a militant out-spoken trade-unionist during my activities in the labor movement, I am not afraid of telling the truth to you now."

"I, for one, favor a limited tenure of office to get new and dynamic forces to the forefront, to gain a stronger morale for the members."

"Our recent entrance into politics, which in my mind is the bane of the Union, has added more woes. Most of the paid officers and active members became politicians, calously [sic] neglecting the duties for which they were elected. Getting wages weekly by the union, a paid officer can abuse his duties more freely now than heretofore, the excuse-elections campaign."

"A member fears nowadays to express an honest opinion, in some locals, for fear of being hooted down or even losing a job."

"Jennie Matyas is recognized by the outside Labor and Education Movement, because she is a leader in her own rights, while countless others remain obscure through the good graces of the men whom they have helped into office."

"Fannia Cohn's service to our organization is only recognized by those on the outside who can dispassionately evaluate such unselfish efforts on the part of one person, for the cause of worker's education."

"When servility, bootlicking, personal favoritism and above all sensationalism will be wiped off as obstacles to real progress,"

"No pictures of pretty girls, baby kissing, trophy-giving for sports, banquets or the like can give our vast membership more aid and comfort (and goodness knows in these difficult times they need it badly) than the feeling that the elected leadership is honest, efficient and sincerely rendering a service for which they were placed in office."

"While organizing new members we preach to them to be independent, to lose their fears and openly express themselves and demand their rights; so here I am practicing what I am preaching and am openly expressing my views to you, Mr. President."

"The change in character of the workers in Southern California's garment industry struck me forcibly. Mexican women and girls were no longer in the majority, although some of the younger generation were still favored in certain factories. The working force in this region had been vastly augmented since 1936, because of the changing trends, and the manufacturers had taken on a great number of women from newly migrant families, largely American-born whites and Negroes, former tenant farmers who had gravitated to California from burned-out and wind-torn land East of the Rockies. Generally referred to as Dust-Bowlers, and made famous as Ma Joads through John Steinbeck's Grapes of Wrath, they had no conception of the meaning of unionism. Some had long been on county relief and WPA, with meager rations and were glad to work for any wage and to put in any number of hours."

"For centuries the human race searched for some formula, magic or scientific, to extend its life-span, to eliminate disease, to develop strong, enduring men and women. And after long striving yellow fever, tuberculosis, and other scourges were conquered and the average life was materially lengthened. But now all these gains have been set at naught. For scientists with drugged consciences have devised lethal weapons, designed not only to wipe out the manhood of this generation, but to destroy whole cities and whole nations. Robot bombing planes, the latest invention, coming seemingly from nowhere, wreak havoc among defenseless people. Hospitals no longer are spared. For a few years of promised full employment, human skill is lured into making such weapons to annihilate the flower of mankind."

"Unfortunately, only about one fifth of the nation's working population is organized into unions, but millions of non-union wage-earners have benefited from organized labor's insistence upon decent living standards for all. Those millions remain opposed or indifferent to unions through sheer ignorance of their merits."

"organized labor's strongest weapon-the right to strike"

"Other strikes developed over racial issues, for in the North as well as in the South there are still white Americans who refuse to accept their red co-workers as equals. Vehemently condemned by union officials, these strikes appear to have been skilfully directed by outside forces interested in dividing Americans on one issue or another."

"To my mind, too, painfully little space was given in the daily press to recent coal mine disasters in which miners perished through underground fires or explosions."

"The Smith-Connally bill's passage marked the beginning of an organized effort to wreck bona fide unions through legislation."

"Compulsory military training is conducive to waging wars rather than to the maintenance of peace."

"Much has been written and said about labor enjoying excessive pay, but little has appeared in print about low-paid workers, such as those in hotels, restaurants, and laundries, being frozen to their jobs if they were employed in "locally needed activities." And scarcely anything is being said about the munitions makers who are amassing huge profits in this war as in those of the past."

"While we are engaged in a global war nothing is too costly for the armed forces. Billions are poured into the making of implements of destruction."

"Although they have readily spent billions of the people's money for destruction necessary to win the war, they balk at spending for peace-time constructive work at home. By the same token, conservatives who have not been averse to sending the best of American youth to foreign lands to make the world safe for the debaters at home, refuse to grant those boys and girls the privilege of using their constitutional rights in electing their national representatives."

"Rightfully, there have been outspoken demands by labor for a place at the peace table, to insure future amity among the world's nations and security for the working masses."

"there is a call to all peace-loving people-to rebuild our shattered world, set up indestructible barriers against war, and create a society based on equality and mutual aid, moving toward a more humane and abundant life."

"Rose Pesotta, one of America's most effective and devoted women trade union organizers"

"In 1933 Rose Pesotta, a leading organizer for the International Ladies' Garment Workers' Union, and herself a Jewish immigrant from Russia, spent months organizing Mexican women garment workers in Los Angeles. Her preconceptions were stereotyped; she assumed that Mexican women would be passive, intimidated by the sexism of Mexican men, and therefore hard to organize. While she did face difficulties, they were not as great as expected, and her campaign had some significant successes. She came to rely on Mexican women as the backbone of her West Coast organizing and took the male leadership down to the local jails so they could hear the spirit with which the mexicanas sang from their cells. The following year she went to Puerto Rico to organize women garment workers there. The meetings were full, although women often fainted from hunger while she spoke. She began bringing baskets of food to meetings and would ask if anyone had not eaten before she spoke. She was deeply moved by the circumstances of Puerto Rican women workers and continued to speak about their living and working conditions for many years. In 1944 she wrote several articles about poverty and working conditions in Puerto Rico for New York newspapers."

"Children taking their place on the picket line occurred throughout modern Chicano labor history, as early as the 1930s. As an example, during the 1933 Los Angeles Dressmakers Strike, ILGWU representative Rose Pesotta organized 300 children in costume for an impromptu Halloween parade in front of the factories where their mothers were picketing."

"Rose Pesotta, who would later become an organizer in America's garment shops, recalled that the evening meetings of the revolutionary reading circles attended by seamstresses, tailors, shoemakers, and itinerant workers provided an "escape from the monotony of everyday existence.""

"Rose Pesotta said she emigrated in part because she wanted to live in a society where ordinary workers commanded respect. In America, Pesotta thought, "a decent middle-class girl can work without disgrace." Had she remained in Russia her only choice, given her upbringing, would be to marry and become a housewife, a future that had little appeal to her."

"Ambitious females usually learned their skills in a more circuitous manner, resorting to what a Bureau of Labor Statistics investigator called "piratical methods." To avoid confinement to dead-end, low-skill positions, they created do-it-yourself apprenticeship systems, jumping from one learner's job to the next and slowly acquiring all the different skills needed to complete a whole garment. "I learned the trade the hard way, changing jobs often, for in those days there were not training classes," recalled Rose Pesotta of her first years in the women's garment industry."

"Not only did week workers have little choice about the time they worked, they were continually subjected to what Rose Pesotta called "the whip of the foreman." Foremen, foreladies, and bosses felt compelled to oversee the demeanor and behavior of week workers in the factory. Too much talking, singing, or visiting the restroom or the drinking fountain cut into production time and thus had to be controlled."

"I think it’s wonderful to be the American Ambassador while we are able to celebrate the 100th year of U.S.-Albania diplomatic relations. As you know, last year, we celebrated 30 years since the restored relationship. And if we look across from the 100 years as well as the 30 years, I think we can say that the two of us, Albania and the United States have accomplished quite a lot. Just looking at the last 30 years alone, when I talk to friends who knew Albania in 1991 and I describe for them what we are doing together now, in 2022, they can hardly believe it. I will just give you a few examples. In 1991, as we all know, Albania was one of the poorest countries in the world and in those 30 years, as Albania broke free from the communist dictatorship, I think the people of Albania have proven themselves to be quite resilient and have inspired the world through their own determination. So, that’s why I announced when I got here that our program here, our agenda is to focus on democracy, defense, and business. So, you’ve broken free of communist dictatorship; the institutions of democracy and law, rule of law, have been installed, and we’re working to strengthen them as much as we can. You’ve gone from a country that is dependent to a country that is a member of NATO in 2009, a country that is on the doorstep of the European Union, and, as of January 1st this year, a country that sits next to the United States, China, Russia, France, Great Britain, as a member of the UN Security Council and that’s a big jump. Then of course the second issue is defense. And in those 30 years, those 100 years, we’ve gone from a communist dictatorship that was closed to the world, now Albania is host to U.S. forces, as of this year. So, this is an historic change. And then of course, finally, on business. Some of the biggest businesses are coming to Albania. We can talk more about this later, but they’re focused on energy for now and I see other areas being opened up as well, including in technology. So, we have the Skavica hydropower plant, it’s not a done deal yet, but it’s looking very good; and we have Vlora, the thermal power plant that will now be bringing in LNG. So, these have huge implications for Albania’s role in the region, not just in terms of Albania’s ability to secure energy for itself but for Albania’s contribution to the region, as a net exporter of energy and energy security."

"The shops. Well, there is just one row of machines that the daylight ever gets to-that is the front row, nearest the window. The girls at all the other rows of machines back in the shops have to work by gaslight, by day as well as by night. Oh, yes, the shops keep the work going at night, too."

"The bosses in the shops are hardly what you would call educated men. And the girls to them are part of the machines they are running."

"At the beginning of every slow season, $2 is deducted from our salaries. We have never been able to find out what this is for."

"How are women treated as they begin to grow? Girls as well as boys go into the factory as soon as they are old enough."

"Let us consider these young girls going into the factories. In the beginning they are full of hope and courage. Almost all of them think that some day they will be able to get out of the factory and work up, but continuing work under long hours and miserable conditions they lose their courage, they lose their hopes. Their only way to leave the factory is marriage. How do you like such a marriage? A girl is ready to give herself to any man who will make the offer! But I am sorry to say that there are thousands of our working girls who are soon disappointed, because right after they are married they have to go back into the factory because their husbands are not making enough money to keep a home."

"Just go through any of the public buildings at midnight and you will see old and middle-aged women on their knees scrubbing away the dirt that men of business have brought in during the day. That gives you a picture of how well men carry the burdens of women."

"You men as a body who make the laws, and men of money who support the makers of the law are responsible for this system of ours that forces 30,000 girls out into the streets."

"When these girls are brought to Court, to a court of men, do you know how they are punished? They are fined and punished for the things that men have done."

"Senators, we are here to stay, 800,000 women in New York State alone. We have learned a good many things. We have learned to organize in the industrial field. Give us a chance, the workingwomen together with the working men, through an intelligent vote and we will make good in the political field."

"In the first two decades of the 20th century, the suffrage movement was infused with immigrant working-class women, in which Jewish women were very prominent. Their numbers–pouring into parades and suffrage organizations–were in the tens of thousands. The two most prominent Jewish immigrant suffrage leaders were Rose Schneiderman and Clara Lemlich. Both were heroines of the Triangle Shirt Waist strike [Uprising of the 20,000] and fire. Lemlich became a communist, Schneiderman a Roosevelt Democrat. They both linked suffrage to the legislative and economic concerns of wage-earning women."

"A Ukrainian immigrant and lifelong radical, Lemlich had moved to New York City in 1903 and led her coworkers at various factories out on strikes between 1906 and 1909. She, like Rose Schneiderman and many others of her time, was one of the early U.S. labor movement's revolutionary "fiery Jewish girls" who would soon leave a mark in their new homeland's history books."

"According to traditional Marxist theory housewives were problematical as to their class consciousness; they often were unreliable allies of radical men. They were usually grouped with peasants and intellectuals as a potentially conservative drag line on the forward march of proletarian men. Women's equality was a stated goal of all Marxist movements, but the way women's issues were treated, one got the clear message that what women did was marginal to the struggle, unless they excelled at doing it the way men did. The great and celebrated heroines-La Pasionaria, Mother Bloor, Elizabeth Gurley Flynn, Clara Lemlich did not organize housewives; they organized female factory workers, women's auxiliaries or men."

"The labor activist Clara Lemlich described marriage as a young woman's only hope of getting free of the factory. "In the beginning," she wrote, "they are full of hope and courage. Almost all of them think that some day they will be able to get out of the factory and work up, but continuing work under long hours and miserable conditions they lose their hopes. Their only way to leave the factory is marriage.""

"The...home...is one of the finest organizations of its kind in the world...I know this to be a fact...I have every confidence in Miss Georgia Tann."

"I come here as your friend, your co-worker. Not to look on from the outside, but to stand shoulder to shoulder with you always. If you need a mother, my heart is ready to respond to that call; if you need a sister, a friend, a comrade in pleasure, that is what I want to be — what I am here to be. Everything that concerns you concerns me — your work, your pleasures, your difficulties. Nothing that affects you is too trivial to claim my interest, my sympathy. Whatever the limitations and deficiencies I bring to my work as your dean, I can promise a deep and unfailing sympathy."

"The simple life of our grandmothers is a thing of the past. For the woman of to-day each year life grows more complex, and we all know that the more complex the machinery the more competent must be those who run it. Does this not lead to a conclusion in perfect accord with the spirit of the age?"

"The Japanese husband is considerate, faithful and patient. It is his philosophy, his religion. He is a home-loving man and naturally he is thoughtful of the little attentions to his home and family. Every woman loves these little attentions."

"The greatest mistake ever made in judgment of Japanese women is that they are merely painted dolls. I think it is quite readily conceded and already proved that Japanese men are clever in business and war; that they are highly intellectual and rank well as cultivated gentlement. It is well known that to be a good, great, or fairly intelligent man you must have a mother who has these qualities. All great men have had great mothers, so that nothing but credit can reflect on the Japanese woman's intelligence."

"There was an aura sanctioned and blessed about her that no one ever questioned. She had the kind of presence that made everyone rise, men of course, but women too, and without knowing who she was, not only in Japan but everywhere she went. Her tact, her courtesy, became legendary, A welcome from Takamine-san, no matter what your age, was like a diplomatic recognition. She was the supreme example, the Queen."

"It is an interesting time. It's also an historic time because we've seen, on one hand, an administration that has prioritized native issues."

"It would be small measure of justice for those who lost their lives on a forced march."

"A Cherokee Nation delegate to Congress is a negotiated right that our ancestors advocated for, and today, our tribal nation is stronger than ever and ready to defend all our constitutional and treaty rights."

"We are a sovereign nation that is capable of exercising a sovereign right to move forward with appointing a delegate to honor our treaties."

"Even though I’d be representing the governmental interests of the Cherokee Nation, I imagine I wouldn’t see myself as any different than being an extra voice to not only represent the governmental interests of my tribe but also to aid in advancing Indian Country generally."

"Extraordinary responsibility and is grateful for an opportunity to serve the Cherokee Nation. This journey is just beginning and we have a long way to go to see this through to fruition."

"That the United States fulfills its treaty rights would send a huge message, not only to the Indian tribes of this country but internationally."

"Allowing me to take up the seat, values its indigenous populations and honors legal documents through the treaties that they signed with the Indians even if it’s nearly 200 years later."

"Teehee’s fingerprints are on a wide variety of policy and laws affecting Indigenous people, from the Violence Against Women Act to the creation of Congress' first Native American caucus"

"We know this is just the beginning and there is much work ahead, but we are being thorough in terms of implementation and ask our leaders in Washington to work with us through this process and on legislation that provides the Cherokee Nation with the delegate to which we are lawfully entitled."

"Ms. Teehee has a wealth of experience working in Washington, DC with representatives from both sides of the aisle."

"She has a storied career of advocating and working on issues for both the Cherokee Nation and Indian Country in general, these two attributes make her appointment as the first-ever delegate an easy decision and I am happy to support her nomination and Chief Hoskin's efforts to exercise our treaty rights."

"Republicans do not care about everyday Americans lives. The privileges they fight for are just for them"

"This was devastating, and the world watched us, and the world is still watching us, to see what we will do this day, and will know what we did this day, 100 years from now. Those are the immediate consequences and our actions will reverberate as to what are the future consequences."

"I’d rather be able to run from rioters and fight with them [than] from a virus that may be out in this room that I can’t see and don’t know how to fight"

"I’ll briefly say that defense counsels put a lot of videos out in their defense, playing clip after clip of Black women talking about fighting for a cause or an issue or a policy. It’s not lost on me that so many of them were people of color and women. Black women. Black women like myself who are sick and tired of being sick and tired for our children, your children"

"There are long-standing consequences. Decisions like this that will define who we are as a people. Who America is"

"But I do believe, even though we lost that case, that we have shown who Donald Trump is. We've shown the enemy that was among us, that was attempting to lead us, that was using us for his own greed and power, and that he will not have the same power that he had, should he ever attempt to run again"

"My office was on the west front of the Capitol, I worked in the Capitol and I was on the House side. This year is 20 years since the attacks of Sept. 11 and almost every day, I remember 44 Americans gave their lives to stop the plane headed to this Capitol building. I thanked them every day for saving my life and the lives of so many others"

"Republicans were not wearing masks, and we were so many of us thinking, I’m out of here’. I’d rather be able to run from rioters and fight with them [than] from a virus that may be out in this room that I can’t see and don’t know how to fight"

"When I think of that and I think of these insurgents, these images, incited by our own president of the United States, attacking this Capitol to stop the certification of a presidential election"

"I recognize that I’m an example for them, for young women, young girls of color, and even for those who are not because as other people who are not of color see our brilliance, our excellence, they recognize that there’s so much we have to offer as well"

"I know people are feeling a lot of angst and believe that maybe if we had this, the senators would have done what we wanted, but listen, we didn't need more witnesses, we needed more senators with spines"

"I think it leaves him for all history - our children and my grandchildren will see in history that this was the most despicable despot attempting to become a fascist ruler over a country that was founded in democracy"

"This is a moment of special pride for me because Representative Plaskett is not only the first delegate ever to be on a team of impeachment managers in American history, but she was also my law student"

"We have got to include all the voices in our democracy. That's how we preserve democracy, that's how we build accountable government, that's how you build responsive government."

"We need different voices in government—not for the sake of different voices, but because it actually makes a difference in policy."

"I just felt this call to action, to give back and do something about what was happening, and I decided that the most effective way to give back and to make a difference would be by being in charge. That there was no reason why I shouldn't run. I know what needed to change, and I was going to do it."

"Reaching across the aisle is important. I'll continue to offer to negotiate, but sometimes it's impossible to negotiate with a brick wall"

"We don’t listen to the NRAs about what we do about gun violence and violent crime. We listen to the victims of crime. We do not outsource the environmental protection measures to industry"

"I'm afraid things have gotten a little bit extreme lately because of the extremism that's trying to take hold in Harris County. I am very proud of my record reaching across the aisle"

"I’m a person that represents everyone in the community, whether they voted for me or not. We’ve been effective so they don’t want me to continue the work and show what effective Democratic leadership can look like in the state"

"As a mother and as a woman in public office, I take my job as a role model very seriously,We need to teach today’s girls to be tomorrow’s leaders. That means teaching them to believe that the ability to do great things is not determined by sex, but by your mind, your skills, and your commitment.This task is made more difficult when public figures make comments like these."

"Trafficking is in our communities, but it does not have to be"

"There is no question that the issues involved in abortion policy are tough, complex and emotionally charged"

"Mother’s Day is a wonderful celebration of the women in our lives who have nurtured and cared for us"

"We must put our concern for the dignity of the woman front and center in all that we say and do"

"It should not cost more to put a toddler and an infant in childcare for a year than it does to send your child to one of our fine public, four-year colleges"

"We want, we deserve, and we must have, a balanced budget amendment in our Constitution"

"But it is not only legitimate for women to have a space of their own in which to grow and thrive, it is good for society to carve out that safe space for women to engage with one another in athletics, education, fellowship, and sometimes even in healing"

"Robocalls are an unwanted intrusion on our privacy and often the gateway to fraud"

"Court has let loose its hold on abortion policymaking and given it back to the people. The focus now is to promote fairness in child support laws and improve foster care and adoption"

"Roe v. Wade is now behind us, consigned to the list of infamous cases that collapsed under the weight of their errors. This decision is a victory not only for women and children, but for the Court itself. I commend the Court for restoring constitutional principle and returning this important issue to the American people"

"When I took office, that case had been sitting at the Fifth Circuit and it needed to be appealed, we looked at it and said, absolutely, we wanted to appeal this case to the United States Supreme Court"

"Fifty years ago, professional women, they really wanted you to make a choice. Now you don’t have to. Now you have the opportunity to be whatever you want to be. You have the option in life to really achieve your dream and goals, and you can have those beautiful children as well"

"Today, adoption is accessible and on a wide scale women attain both professional success and a rich family life, contraceptives are more available and effective, and scientific advances show that an unborn child has taken on the human form and features months before viability"

"We must all work together to strengthen the safety net that women need not only for healthy pregnancies, but also as they build families where both they and their children thrive"

"We need our laws to reflect our compassion for these women and their children. It is time for an open and frank dialogue about the many actions that need to be taken in order to help women in need"

"The affordability and accessibility of childcare, child support enforcement that requires fathers be equally responsible for their children, workplace policies like maternity and paternity leave, streamlining adoption, and improving foster care"

"Because she is a Republican, Attorney General Fitch is probably cozier with the insurance companies than were her two predecessors"

"To make your own choices, but be thoughtful about them, not rash."

"As long as you had that grounding, as long as you had that place where you knew you could draw strength, where you knew you had a strong family to support you, everything was going to be OK."

"Diplomacy is about meeting the world with open eyes, attuned listening and small gestures of outreach. It was second nature to Hillary Clinton."

"So much of what happened to me professionally felt like I was floating in a cauldron, and so much about this book is about taking control"

"When I was a little girl, I believed that my life would somehow be different from the lives of everyone around me"

"I have never wavered from the belief that public service is a worthy profession, that the reward is worth the risk, that the stakes are too great to turn away from the calling."

"Take a chance. Don’t be afraid of what you don’t know. And don’t fall in love with Plan A."

"Every worker deserves to have protections on the job and it is the goal of the labor movement to ensure that happens."

"The ability to speak up for each other on the job and at the ballot box is a crucial component in determining the rights and enacting the policies that affect the lives of millions of women and their families."

"We need to join together and speak out for good wages, great benefits, fair scheduling and equal pay for equal work"

"As many women in our movement do – we find ourselves outside the spotlight, doing the hard work behind the scenes, focusing on making big plans come together to benefit the whole"

"It’s not enough to protect what we have, we’re not just going to recover what we have lost. This is about taking risks to define the future…on our terms."

"Employers have the ability to voluntarily recognize them off the spot, but that doesn't always happen as we know. And then there's a contract negotiation process that goes on"

"People are tired of toxic environments. They're tired of being treated poorly and not having a say in how their workplace is being shaped or changed."

"Senator, you have dual citizenship with Israel"

"My values. Know what I hold to be most sacred in my life that I would never want to give up. And if I cannot reclaim that, if the likelihood of my reclaiming that in the future is very low, then act accordingly."

"Until we overcome our fear about talking about death, few of us can have the end of life we envision. We've been so focused on living and accomplishing and moving forward that we don't think about death as part of life."

"I’ve been doing this daily and loving it each day, but I do think it’s time for me, it’s time for the radio station, it’s time for listeners to hear something new and fresh"

"[this episode] has been the most difficult two days of my professional life"

"Being all things to all people is not really possible right now, if it ever was."

"I think the explosion of podcasting is really interesting and also very promising because it’s, I think, finally a recognition of the fact that media organizations should not be siloed. And the fact that the leading podcast in the country is coming from a legacy newsprint news organization (The New York Times) is exciting, and the fact that that same news organization is growing a filmmaking enterprise within the newsroom is also exciting and at last you're seeing an organization do what we’ve been saying all along, which is that we’re platform-agnostic and we’re multimedia and all of that. And I think these are words that we throw around a lot in the industry but that are finally, I think, being taken seriously."

"I think passion detached from knowledge is where a lot of podcasts fail. And I think, again, because they’re fairly inexpensive and easy to do, at least in their most basic format, we’re overrun now with a lot of podcast choices and there’s a lot out there that’s not very good. But I think the ones that are going to be successful are the ones that you're going to turn to time and time again sometimes for the passion but I think more often for knowledge, for understanding, to have something explained to you."

"Learning what your strengths are and learning how to exploit the strengths and downplay the weaknesses of certain forms of media, I think, is something that we’re struggling with in the social sphere"

"Don't let your history hinder you from your destiny... you are only held back by yourself! You aren't what they say you were, you are who God says you are!"

"What do you like? What do you want? What do you believe? What do you envision? What do you dream will happen in the future? Those who have lost a strong sense of personal identity answer those questions with blank expressions."

"Satisfaction comes from the inside out, so people keep gravitating from things externally to try to fill something – get a man to complete them, get money to complete them, get a job to complete them – and still find themselves frustrated."

"Only after a person embraces her unconditional worth and value can she truly receive love from someone else."

"For anyone who right now is hurting, for anyone who feels beneath a baseline, feels so isolated and lonely, know that you are not alone. First and foremost, you have a God that is going to sit closer than a brother"

"January is the beginning of a new year for us in the Western world. Let us give to God what belongs to him: the first hours of our day, the first month of the year, the first of our increase, the first in every area of our life. It's devoted... The principle of first fruits is that when you give God the first, he governs the rest and redeems in."

"I shall not attempt to write my feelings altogether, for the situation in which you are, the walls, bars, and bolts, rolling rivers, running streams, rising hills, sinking vallies and spreading prairies that separate us, and the cruel injustice that first cast you into prison and still holds you there, with many other considerations, places my feelings far beyond description. Was it not for conscious innocence, and the direct interposition of divine mercy, I am very sure I never should have been able to have endured the scenes of suffering that I have passed through, since what is called the Militia, came in to Far West, under the ever to be remembered Governor’s notable order; an order fraught with as much wickedness as ignorance and as much ignorance as was ever contained in an article of that length; but I still live and am yet willing to suffer more if it is the will of kind Heaven, that I should for your sake."

"No one but God, knows the reflections of my mind and the feelings of my heart when I left our house and home, and allmost all of every thing that we possessed excepting our little Children, and took my journey out of the State of Missouri, leaving you shut up in that lonesome prison. But the recollection is more than human nature ought to bear, and if God does not record our sufferings and avenge our wrongs on them that are guilty, I shall be sadly mistaken."

"I have many more things I could like to write but have not time and you may be astonished at my bad writing and incoherent manner, but you will pardon all when you reflect how hard it would be for you to write, when your hands were stiffened with hard work, and your heart convulsed with intense anxiety."

"We are going to do something extraordinary. When a boat is stuck on the rapids with a multitude of Mormons on board we shall consider that a loud call for relief. We expect extraordinary occasions and pressing calls."

"No one need feel delicate in reference to inquiries about this society. There is nothing private. Its objects are purely benevolent … , its objects are charitable: none can object to telling the good, the evil withhold."

"We shall have sufficient difficulty from abroad without stirring up strife among ourselves and hardness and evil feelings one towards another, etc. … We could govern this generation in one way if not another. If not by the mighty arm of power, we can do it by faith and prayer. If we will try to live uprightly… we should not be driven."

"I would crave as the richest of heaven's blessings would be wisdom from my Heavenly Father bestowed daily, so that whatever I might do or say, I could not look back at the close of the day with regret, nor neglect the performance of any act that would bring a blessing. I desire the Spirit of God to know and understand myself, that I desire a fruitful, active mind, that I may be able to comprehend the designs of God, when revealed through his servants without doubting. I desire a spirit of discernment, which is one of the promised blessings of the Holy Ghost."

"If there is anything in the world I am, or ever was proud of it is the honor and integrity of my children, but I dare not allow myself to be proud as I believe pride is one of the sins so often reproved in the good book, so I am enjoying the better spirit, and that is to be truly and sincerely thankful and in humility give God the glory, and not try to take any of it myself for it is true that He has led my children in the better way."

"I know Mormonism to be the truth; and believe the Church to have been established by divine direction. I have complete faith in it. In writing for your father I frequently wrote day after day, often sitting at the table close by him, he sitting with his face buried in his hat, with the stone in it, and dictating hour after hour with nothing between us."

"I have been called apostate; but I have never apostatized, nor forsaken the faith I at first accepted; but was called so because I would not accept their new fangled notion."

"Hearken unto the voice of the Lord your God, while I speak unto you, Emma Smith, my daughter, for verily I say unto you, all those who receive my gospel are sons and daughters in my kingdom. A revelation I give unto you concerning my will, and if thou art faithful and walk in the paths of virtue before me, I will preserve thy life, and thou shalt receive an inheritance in Zion. Behold thy sins are forgiven thee, and thou art an elect lady, whom I have called."

"Again she is​ here, even in the seventh trouble, undaunted, firm and unwavering, unchangeable, affectionate Emma."

"I have never seen a woman in my life, who would endure every species of fatigue and hardship, from month to month, and from year to year, with that unflinching courage, zeal, and patience, which she has ever done; for I know that which she has had to endure—she has been tossed upon the ocean of uncertainty—she has breasted the storms of persecution, and buffeted the rage of men and devils, which would have borne down almost any other woman."

"You tell anyone who has any problem with including Emma to come talk to me."

"Her eyes were brown and sad. She would smile with her lips but to me, as small as I was, I never saw the brown eyes smile. I asked my mother one day, why don't Grandma laugh with her eyes like you do and my mother said because she has a deep sorrow in her heart."

"Emma was called "an elect lady." That is, to use another line of scripture, she was a "chosen vessel of the Lord." Each of you is an elect lady. You have come out of the world as partakers of the restored gospel of Jesus Christ. You have made your election, and if you are living worthy of it, the Lord will honor you in it and magnify you."

"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!"

"And please don’t wish me luck; wish me good favour in the eyes of the judges and the organisation. I pray they see the motivated, ambitious, and goal driven woman I am."

"No matter what happens tonight, I hope I have made my country proud, my family and friends proud and for sure I know my mom is sooo proud! Again thank you to everyone on my team, my sponsors, and to those who have contributed to my #roadtomissuniverse journey. I’m forever grateful"

"My mother once said….and I’m a firm believer of that,” she revealed. “She recently passed away tragically. And I was still able to persevere through and competed in my national pageant. I used my story now to inspire, uplift and impact the youths."

"We all have circumstances and times when we may be tempted to complain, but find something to be grateful for instead. Studies show that people who practice gratefulness are happier people!"

"It’s so important that we set the tone for the day. We have to resist the temptation to start off worried, thinking about what’s wrong and all we have to accomplish. Start the day in faith, casting your worries on the Lord, trusting that He’s guiding and directing your steps."

"We only have a certain amount of energy for each day. If we use it for the wrong purpose, if we focus on the negative or dwell on whoever hurt us, then we’re not going to have the energy we need for the right purposes."

"Let me encourage you, if someone has wronged you, and you still get that cringing feeling on the inside when you see or think about that person, take it to God and allow Him to keep your heart soft and sensitive."

"There are a lot of times that we feel like our hands are tied - 'I have no control over if I'm going to lose my job.' 'I have no control over if I'm going to be able to pay my bills.' You've got to realize that that's where your trust comes in. You have to trust God, and keep your hope, because your hope is what produces your faith."

"As women, we're nurturers by nature. We want to make sure everyone is happy. That's a good thing, but we also have to put ourselves on that happiness list."

"The pressure you are facing is not going to break you. It’s going to make you."

"Fear is the thief of opportunity! God hasn’t given you a spirit of fear, but He’s given you power, love and a sound mind. Be bold because He is with you!"

"when you don't look at the good things around you, that you lose sight of all those good things. And you're not going to enjoy your life"

"Sometimes God Presents Opportunities That Look Insignificant Or Rather Ordinary. Perhaps You Don't See How They Fit Into The Big Picture For Your Life. But If God Is Asking You To Do Something, He Has A Purpose For It."

"Every human community will disappoint us, regardless of how well-intentioned or inclusive."

"We should never be more loyal to an idea or an interpretation of a Bible verse than we are to people...”"

"I need a place to confess that I don't have everything figured out. Christianity is not a program for avoiding mistakes; it is a faith of the guilty. There is no "right" or perfect way to be. We learn from our mistakes; we extend grace to others and ourselves. In the same way a lover who loves your body allows you to have grace for it, so is grace the antithesis of rejection."

"I keep making mistakes, even the same ones over and over. I repeatedly attempt (and fail) to keep God and my fellow humans at arm’s length. I say no when I should say yes. I say yes when I should say no. I stumble into holy moments not realizing where I am until they are over. I love poorly, then accidentally say the right thing at the right moment without even realizing it, then forget what matters, then show tenderness ..."

"Maybe the Good Friday story is about how God would rather die than be in our sin-accounting business anymore."

"I don't think it's ever too late for this Court to give the statute its proper construction when you actually look at its text, context, and history."

"This court is going to hear from 27 advocates in this sitting of the oral argument calendar and two are women even though women today are 50 percent or more of law school graduates and I think it would be reasonable for a woman to look at that and wonder, is that a path that’s open to me, to be a Supreme Court advocate"

"Are private clients willing to hire women to argue their Supreme Court cases? When there’s that kind of gross disparity in representation, it can matter and it’s common sense"

"We’re competitive we like to win but we don’t compete against each other. It’s been the perfect culture to try to build a Supreme Court and appellate practice."

"Learn your cases and your clients inside and out so that you have the whole picture in mind when crafting arguments."

"There isn’t a trade off between being an aggressive and successful advocate for your clients’ positions and treating others with respect."

"This is not about reducing enforcement of the immigration laws, it's about prioritizing limited resources to say go after Person A instead of Person B"

"Federal courts should not be transformed into open forums for each and every policy dispute between the states and the national government"

"Federal government has to prioritize its efforts because it does not have the resources to pursue the 11 million undocumented "noncitizens" in the country."

"Make no mistake, it is impossible for DHS to comply with each and every ‘shall’ in the INA as truly a judicially enforceable duty, we wouldn’t have the resources or ability to go after those individuals who are threats to public safety, national security and border security"

"Applicant has never represented in any of his multiple legal filings in multiple courts that he in fact declassified any documents — much less supported such a representation with competent evidence"

"She's a spectacular lawyer with impeccable integrity and is ideal for this role in the Department."

"I am incredibly proud that the new solicitor general is a Boisean. Elizabeth Prelogar is distinctly qualified for the position, having served in the solicitor general’s office for years and already argued before the Supreme Court nine times"

"Prelogar’s confirmation is not only timely, but also important to people like me who recognize the need for more women to serve our country throughout each branch of government"

"The Chicana writer, by the fact that she is even writing in today's society, is making a revolutionary act. Embodied in the act of writing is her voice against others' definitions of who she is and what she should be. There is, in her open expression and in the very nature of this act of opening up, a refusal to submit to a quality of silence that has been imposed upon her for centuries. In the act of writing, the Chicana is saying "No," and by doing so she becomes the revolutionary, a source of change, and a real force for humanization."

"By becoming a writer, the Chicana has to have already rebelled against a socialization process that would have her remain merely the silent helpmate. Everything in her society, the schools, the church, the home, has sought this goal for her: she must be sheltered from the evils, noise, confusion, from the realities of the outside world, from sex to politics, even at times from intellectual dialogue, to be considered acceptable. In short, she should make no intrusion into adult or male conversation. Now, the Chicana, by voicing her own brand of expression has rejected the latter in favor of telling anyone who wishes to read her work, hear her voice, exactly what she is not, and who she, in fact, is."

"Writing, breaking the silence, subjective as it may appear, becomes a monumental and collective act because it signifies over coming, freeing oneself from the confines and conditions of history."

"More and more the Chicana woman is emerging out of a traditionally imposed silence."

"As long as we remain silent, no voice exists. Our right to speak, to voice ourselves is stripped from us; if you do not hear us, no voice exists and no one will notice our absence. Verónica Cunningham through poetry admonishes our silence."

"Chicanas are being called upon today to put their thoughts down in writing, to share their emotions with others, thus beginning the process, the chain reaction that might spur others to self-expression and creativity. Our depth as Chicana women must be shared, in fact, is urgently needed so that others might hear the prophetic voice. This sharing is essential; it is the spirit of our people. This process creates a new awakening, a breaking out of silence, a revolutionary act. The burden is finally on us, on all Chicanas to break out of silence, to be present to all others who may themselves benefit from a voice, one that is both fearless and the penetrating conscience of the people."

"Permit me first to present some facts in regard to the situation of an immense number of young children in this land, for whom your sympathies at this time are sought. Few are aware of the deplorable destitution of our country in regard to the education of the rising generation, or of the long train of wrongs and sufferings endured by multitudes of young children from this neglect."

"Two millions of American children are left without any teachers at all, while, of those who go to school, a large portion of the youngest and tenders are turned over to coast, hard, unfeeling men, too lazy or too stupid to follow the appropriate duties of their sex."

"While every intelligent man in the Union is reading and saying every day of his life that unless our children are trained to intelligence and virtue, the nation is ruined; yet there is nothing else for which so little interest is felt, or so little done"

"Our two millions of little children, who are growing up in heathenish darkness, enchained in ignorance, and in many cases, where the cold law provides for them, enduring distress of body and mind greater than is inflicted on criminals, whee is the benevolent association for their relief? Where is there a periodical sported by the charitable, to tell the tale of their wrongs! Where is there a single man sustained by Christian benevolent to operate in their behalf? Instead of spending time and money and employing agents to save the children of our country from ignorance and sin, the whole benevolent energies of the Christian world are engaged to remedy the evils that spring from this neglect. Children are left to the full influence of ignorance and neglect till moral health and strength are ruined, and then the cure is sought in temperance lectures, Bibles, tracts, colporteurs, and home missions. If all the labor and money spent for these objects at the West, for the last twenty years, had bene employed in securing, for the generation now on the stage, six hours a day of good moral and intellectual training by well qualified teachers, who will firm that the result would not have been better?"

"The daughters of wealth have there intellectual faculties and their sensibilities developed, while all the household labor, which would equally develop their physical powers, and save from ill-health, is turned off to hired domestics, or a slaving mother. The only remedy for this evil is, securing a proper education for all classes, and making productive labor honorable, by having all classes engage in it."

"Work of all kinds is got from poor women, at prices that will not keep soul and body together; and then the articles thus made are sold for prices that give monstrous profits to the capitalist, who thus grows rich on the hard labors of our sex"

"There is almost nothing which a man cannot believe, if only he wishes to believe it"

"The educating of children, that is the true and noble profession of a woman — that is what is worthy the noblest peers and affections of the noblest minds."

"Another cause which deeply affects the best interests of our sex is the contempt, or utter neglect ad indifference, which has befallen this only noble profession open to woman. There is no employment, however disagreeable or however wicked, which custom and fashion cannot render elegant, interesting, and enthusiastically sought. A striking proof of this is seen in the military profession. This is the profession of killing our fellow-creatures, and is attended with everything low, brutal, unchristian, and disgusting; and yet what halos of glory have been hung around it, and how the young, and generous, and enthusiastic have been drawn into it! If one-half the poetry, fiction, oratory, and taste thus misemployed had been used to embellish and elevate the employment of training the mind of childhood, in what an altered position should we find this noblest of professions!"

"It is the high character of my countrywomen, and the great power and influence they thus command, which has been my chief encouragement in laboring in this cause."

"One single vulgar, or deceitful, or licentious domestic may, in a single month, mar the careful an anxious training of years."

"It is to be lamented that the principle of national patriotism has had very little nourishment in our country, and, instead, has given place to sectional or state partialities. The South and the North, the East and the West, instead of uniting to cherish common interests and a common amor patriae, have rather been thrown apart by clashing interests and jealousies, while this sacred principle has been drawn around only some small portion of our common country."

"All must see that the surest, as well as the most peaceful method of bringing to an end all social evils, all wrong, and all injustice, is to train the young children of our nation “to do justly, to love mercy, and to walk humbly with God.”"

"Emma Willard, Mary Lyon, Catharine Beecher, and the several other women pioneers who established institutions of higher learning for women with curricula equal in content to that offered men, did not plan to challenge gender-defined separate spheres for women and men. They merely wished to upgrade "woman's sphere" and extend her educational and economic opportunities by training large numbers of teachers to furnish the newly established public schools of the nation. In this endeavor they admirably succeeded and the literally thousands of schools founded and staffed by their pupils in the 1840-70s bear testimony to their achievement."

"Emma Willard, Catharine Esther Beecher and Mary Lyon accomplished similar feats of institution-building and ideological indoctrination to create new careers for women and imbue them with a missionary zeal for promoting the education of their sex. Both women, like their earlier predecessor, firmly proclaimed themselves opposed to woman's rights advocacy, yet they, like Emma Willard, educated a significant cohort of community leaders, many of whom became feminists."

"The anarchist-feminists' denial of gender-based distinctions precluded their use of many of the arguments for equality utilized by the mainstream feminists during the late nineteenth and early twentieth centuries. For example, the followers of Catharine Beecher could demand access to the teaching profession on the grounds that the female nurturing instinct made women biologically better suited than men to educate the young."

"Kathryn Kish Sklar, in her biography of Catharine Beecher, has referred to an ideology of domesticity" that began to take shape in the 1830s. Middle-class women, without the economic functions that had occupied their grandmothers, began to conceive of their roles in different terms. Economic productivity gave way to emotional productivity. Catharine Beecher and her followers attempted to direct the attention of Americans toward the home, the domain where women predominated. While they insisted on the maintenance of separate spheres for the functions of men and women, they attempted to establish the significance to the larger society of the roles women played within their defined sphere.""

"I had always resented the pains that militant suffragists took to belittle the work that woman had done in the past in the world, picturing her as a meek and prostrate "doormat." They refused, I felt, to pay proper credit to the fine social and economic work that women had done in the building of America. And in 1909, after we took over the American Magazine, I burst out with a series of studies of leading American women from the Revolution to the Civil War, including such stalwarts as Mercy Warren, Abigail Adams, Esther Reed, Mary Lyon, Catharine Beecher, the fighting antislavery leaders-not omitting two for whom I had warm admiration, if I was not in entire agreement with them, Elizabeth Cady Stanton and Susan B. Anthony."

"Freedom means many things to many people. From my earliest childhood I saw it through the eyes of my parents as both opportunity and challenge to do battle for those in bondage, to achieve freedom of the spirit and mind for one’s self and one’s fellow men. Blessed by parents whose deepest joy was through service to their fellow men, who were deeply moral without ever being self-righteous, who were profoundly religious and therefore not sanctimonious, I learned that love of mankind became meaningful only as it reflected understanding of and love of human beings."

"Passionate concern may lead to errors of judgment, but the lack of passion in the face of human wrong leads to spiritual bankruptcy...""

"My parents were among the first progressive parents who thought their children should always be at the dinner table to be heard as well as seen.""

"I was one of the most fortunate of children because my parents shared so much- in their ideals, their work...And perhaps most important they...never gave us the feeling they were too busy or engaged in anything more important than their life with us."

"Those were the days of the battles for the right to organize, and the conditions of workers were abominable."

"By the end of my second year [1926], the great textile strike had broken out in Passaic where I had worked, so I commuted between Yale Law School and Passaic, to the horror of some of the reputable people at Yale."

"Surely, the concern for the liberation of women need not and should not be separated from the struggle by women to protect and advance the freedom of all those still denied equal opportunities and full participation in the life of this country. (1973)"

"I tell myself each time that I am trying to do the best that can be done for this one child in front of me now. And then, starting after court, I try to do what I can for the others like him.'"

"One need not go South to discover the injuries to children which result from discrimination or indifference, too often rationalized on the ground that neighbors did not know about them."

"We have lost a sense of personal responsibility and sensitivity to people, and our faith that we can do more for people who need help if we care. In other words, I don't believe we can have justice without caring, or caring without justice. These are inseparable aspects of life and work for children as they are for adults."

"As case after case came up, I saw the vast chasms between our rhetoric of freedom, equality and charity, and what we were doing to, or not doing for, poor people, especially children."

"The experiences that I have had definitely help to deal with different types of pressure."

"I want to be a part of something that is spearheading the movement, if that makes sense? I’m actually investing in seeing myself as an equal to my male counterparts."

"If I had a bad game or something like that, especially in the very beginning, it was such a hard transitional period that I would just really get in my head."

"Unfortunately, injuries are a natural part of football."

"I think women need more representation. Not just because we are women, but because we are incredible athletes. Incredible athletes should all be given the same opportunities."

"The better I got, the greater the pressure and the tougher his feedback would get."

"I made the decision long ago that to be afraid would be to diminish my life."

"I'm not fancy. I'm what I appear to be."

"The good lawyer is the great salesman."

"I just try to do my best and make the best judgments I can."

"Just remember: strength and courage. If you stand on principle, you'll never lose."

"Until the day I die, or until the day I can't think anymore, I want to be involved in the issues that I care about."

"India presents to the visitor an overwhelmingly visual impression. It is beautiful, colorful, and sensuous. It is captivating and intriguing, repugnant and puzzling. It combines the intimacy and familiarity of English four o'clock tea with the dazzling foreignness of carpisoned elephants or vast crowds bathing in the Ganga during an eclipse. India's displays of multi-armed images, its processions and its pilgrimages, its beggars and Its kings, its street life and markets, its diversity of people - all appear to the eye in a kaleidoscope of images. Whatever Hindus affirm of the meaning of life, death, and suffering, they affirm with their eyes wide open."

"It was an awesome city - captivating, challenging, and endlessly fascinating - Banaras raised some of the questions about the Hindu tradition which have interested me ever since - its complex mythological imagination, its prodigious display of divine images, its elaborate ritual traditions, and its understanding of the relation of life and death. It was Banaras that turned me to the study of India and the Hindu religious tradition.""

"All shows have a lifespan. You start to run out of stories. You start to run out of a new vision. It is very hard to sustain something too long and it'll become detrimental when you do. These have lifespans, I believe."

"We’re just not utilizing [vaccines] most effectively around the world. I mean 30% of the world still has not received a single vaccine. in every country in the world, including in the US, we’re missing key demographics."

"We didn’t need to have this level of death and devastation, but we’re dealing with it, and we are doing our best to minimize the impact going forward."

"I’m struck by how people actually are wearing masks wearing a mask below your chin is useless. And it gives you a false sense of security that you have something on that is protecting you. It will not ... Basically, we are asking everyone to play a part in this."

"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."

"After church on Sundays, I would build forts with blankets and sheets, covering my bedroom from corner to corner. Underneath those bedding canopies I created a world of my own, my first experiences with privacy from my parents. To save space on storage, my mother kept her nylons in my bottom dresser drawer. I found them, and natural curiosity led me to try them on. I wondered what was so special about these shriveled brown socks that only my mom got to wear. In the dark secrecy of my forts, I lay on my back, stretched my legs up toward the sky, and slowly rolled the nylons down over my legs. I was almost hypnotized by the sensation of nylon on skin. This must be what it feels like to be a woman, I thought to myself. My father would walk by and see the sheets and blanket tent tops I had constructed over the furniture. "Tommy, what the hell are you doing in there?" he'd bark. "Nothing!" I'd call back, and I would roll the nylons off my legs and hide them as quick as I could. No one ever had to tell me that what I was doing in my fort was indecent behavior. I could just feel that it was wrong, as if I was born with the shame. I had already been caught playing Barbies with a neighbor girl. My father's reaction was a cold stare of disapproval and a new G.I. Joe. It was put to me bluntly that "little boys don't play with Barbie dolls like little girls do," and that was that."

"My confusion over my interest in women's bodies and clothing followed me throughout elementary school. I'd see older women on the street and want to be as pretty as they were. At 8 years old, I caught an edited version of Rosemary's Baby playing on late night network TV. While most kids would shy away from the terror of the Roman Polanski film, I was drawn in by the beauty of Mia Farrow. Her hair was short and blond, chopped into a pixie cut, not dissimilar to my own. I knew what it felt like to have hair so short, so she made femininity real and attainable to me. I had no idea what kind of adult I'd grow up to be, but she gave me something to aspire to. Maybe, just maybe, I would look like her one day."

"Like most kids who had their musical awakening in the 90s, I cut my teeth on Nirvana's "Smells Like Teen Spirit." The utter simplicity of that song taught countless rock hopefuls like me how to form power chords and annoy their parents with them. Frontman Kurt Cobain singlehandedly calloused a whole generation of tiny fingers with those opening notes."

"When I grew bored, I would lock myself in the bathroom and by on my mother's dresses that were in the hamper. I'd stand there as long as I could, looking at myself in the mirror, wishing I was someone else, wishing I was her. Who was "her"? She was the person I imagined myself to be, in another dimension, in a past life, in some dream. I had never heard of gender dysphoria; the idea that your psychological and emotional gender identities do not match your assigned sex at birth. I didn't have a name for the way I felt. No information was available, and there was no adult that I could trust with my secret. I thought I was schizophrenic, or that my body was possessed by warring twin souls: one male, one female, both wanting control. I would look down at my body in a dress and blur my vision until it almost felt real. My eyes scanned upward, hoping to see her face, but I would only find an insecure teenage boy dressed in women's clothes. I'd do this until it was time to take the dress off and go through the motions of flushing the toilet and pretending to wash my hands before stepping back into reality."

"One night, I stumbled upon a sports almanac there. There was a two-paragraph article in it about Renée Richards, the professional tennis player who underwent a male-to-female sex change. This was the first time I'd ever heard of such a concept. I could hardly believe it was really possible. In the sanctuary of the attic, I read those two paragraphs over and over. I wanted this so badly, but didn't know how to make it happen. All those sleepless nights praying to God for this one miracle never got me a word back. After everyone was asleep, in a moment of pure desperation, I turned to Satan. [...] "I pledge my allegiance to the Dark Lord in exchange for..." I vowed to do whatever he wanted. I offered my soul, anything in trade. I begged for Satan to please, please let me wake up a woman. Not a girl, but a fully grown woman; instant emancipation so that I could run away and escape it all. I had a full, intricate plan worked out in my head. I would wake up that next morning before the rest of my family and disappear into the woods, never to be seen again. I wrote out the contract and sided it in my own blood, but of course I never woke up the woman I wished to be."

"It's perfectly useless to ask people why they get married, but I fancy I know the reason, just the same. They may think it is one reason or another, but the real reason, to my mind, is an old one: The Eternal Purpose is making use of them to carry on the business of the world."

"Long ago, when the world was young for many of us, we believed in marriage as a great adventure, and if the world has been kind to us and has spared us our ideals, it is still the great adventure upon which some of us have embarked, while others still linger on the shore."

"Who honestly believes that he or she is extravagant? Not one, believe me. We all have our little ways of saving string, of doing without something, from early strawberries to diamond tiaras, which lead us to believe we are in the saving class."

"Many able women in early middle life, having mastered the art of home-making in the finest school in the world--a busy and happy household--seek a wider sort of home-making. They have a vision of the city they know best, or the State or the nation, as a greater household, to be organized and made happier through the influence of a larger motherhood. It was so with Mrs. Park."

"I think what we’ve seen, Amy, over these last years is that the corporate media has a one-sided debate. You don’t hear from informed, analytical scholars or writers who are not there to justify but to provide history and context about what we’re witnessing today in the proxy war, but the war between Ukraine and Russia. And there’s a marginalization of those voices and a preference for voices which are about how to escalate the war, how to cover the military, not cover the history. And I think the venerable journalist Walter Lippmann once said, “When all think alike, no one thinks very much.” And that seems to be the framework in what we’re witnessing. And I think it’s very important that there’s not an intellectual no-fly zone, even while understanding how barbaric, how illegal the Russian war against Ukraine is."

"So, Mikhail Sergeyevich was a deep democrat. He was a social democrat. It’s interesting, out of the Communist Party, one party, he emerged social democrat. He introduced the fairest and freest presidential and parliamentary elections to Russia.... he finally saw in Ukraine — and, by the way, Nina Khrushcheva knows this very well. Raisa was half-Ukrainian, I think, and Gorbachev has family, Ukrainian. He despaired of the war in Ukraine. And I think, in that, he saw that Putin was — you know, he’s the Russian, Soviet — he’s the Russian statist. He’s anti-communist. He is the Russian myth, the Russian world. And Gorbachev was, you know, a social democrat of a more European kind... One thing that Gorbachev always said — and I’ll end here — at the end of the Cold War — and this is something that was shared by George H.W. Bush at the beginning — there was no winner. There was no winner. But the triumphalism of America, I think, in the end, opened Gorbachev’s eyes to the dangers of making agreements with the West, which would be broken, as was the promise not to move NATO eastward, a broken promise which was a stab in the back against Gorbachev’s policies and success."

"As an institution the Church cannot subject its authority to a certain social relation with society."

"I received my ration card for the month of September today. As I understand it Iam allowed ten ounces of bread per day. Beyond that, my allotments for the month area as follows: 2 ounces of cheese, 25 ounces of fats, 20 ounces of sugar, 10 ounces of meat, and 6 ounces of coffee. And by coffee they mean 2 ounces of real coffee and 4 ounces of some kind of substitute material. No rice, noodles, or chocolate are available during the month of September as these are reserved for colder months. France would be a paradise for a vegetarian if there was milk, cheese, and butter; but I haven’t seen any butter, and there is no milk."

"I lost many of my friends because they talked to much"

"Nonetheless, living in accord with God’s will always has its benefits."

"The church’s teaching on homosexuality is not hard to get, once you understand that sexuality means the complementarity of male and female, to be able to show complete love to each other.”"

"So my formula for reforming the Church is to reform the family. All of the things we want — people who do missionary work, etc. — come from good families."

"The stupid and the children of genius alike emancipate themselves from conventions."

"There are so many ways that persons of intelligence have of expressing themselves. Some of these ways have little in common, many of them are contradictory in method, most of them differ in the effect aimed at, or the impression made."

"There certainly is at present, then, no standard English, either in writing or in speaking, that is easily and cheaply available. There is no one correct way of writing or of speaking English. Within certain limits there are many ways of attaining correctness."

"Letters of friendship, of love, of hate, of business, of state, have come into new value within the last twenty-five years. Reading them has come to be one of the most alluring pleasures of a large class of persons."

"The letter writer who spends his individuality in faddish paper, colored ink, and enigmatic paging, who 'crosses' his manuscript or insists upon paper so thin that it is hard to know which side one is reading, will need large revenues of talent to keep him from living behind his means in his claims on his reader's attention."

"Going to college was a thing quite by itself, an experience to be reckoned with--something like Platonic love, or getting religion."

"By 1870... Vassar did not stand, even in the funny papers, any longer for prigs, freaks, social rebels, or eloquent and earnest fanatics. What did it stand for? Freedom from any obligation upon the students to concern themselves with that question was one of the factors of the spaciousness that prevailed for ten years."

"A young generation felt a strange call from the future and so turned a perfectly courteous back upon the past with its failures; and with a resolute morning face fronted the new order of things where everybody should have a fair chance, where it should never be too late to make a fresh start, and where friendship should be the leading business of individuals and of nations."

"As an instructor in English literature, Miss Jordan's success has been marked. The magnetism, thoroughness, and sympathy of her work have been alike conspicuous. Broad-minded and scholarly, she has exacted from her pupils what she has given: fidelity in the study of English, and constant attention to its best models."

"Civil-Civility depicts the acts and writings of courageous women who I felt defied all odds to help women and humanity."

"The culture of suppressing women composers and performers goes centuries back in Germany and other countries."

"I always shave every inch of my body, even my arms, my face, my back. I literally shave everything."

"What if Americans were free to dream their highest vision of healing and health care? And what if a physician promised to bring those dreams to life? Imagine what it would look like, sound like, and feel like to enter an ideal clinic designed by the American people."

"(3 Things to say to a suicidal physician:) ...One. I don't say anything. I listen without judgement....Two. Then I say, "You are not alone." ....Finally, I say, "Call me anytime.""

"Please stop using the word burnout. You are not burned out. You've been abused."

"Don't train us to be more resilient. Train us to be more resistant to abuse."

"If your dream is bigger than your cubicle, leave your cubicle. You can practice medicine your way-- as an employee, a business owner, or an entrepreneur."

"You have to learn to feel confident about the prospect of failing, because it's so inevitable."

"I am fascinated at how the things that set us free are also the same things that oppress us; you could say that the concept of the deserted island is both our greatest fantasy and our greatest fear."

"It’s good to have space to think. It’s in the empty moments when you’re the most creative."

"One of the problems that I have with the way the art world is structured is that there is this idea amongst artists that they have to wait for permission or validation. It makes no sense to me. It’s so interesting when you find artists who are making work, and who are putting it directly in the world."

"If you look at the larger historical evolution of architecture and domestic spaces, our homes are increasingly segregated and compartmentalized. It was the norm when I was growing up for each child to have his own bedroom. This is something that is historically quite new. I often wonder if it is the reason why it’s so difficult for adults of my generation, and those since, to cohabitate or have close interpersonal relationships. I believe that we have become so successfully individualized that it is difficult for us to live collectively."

"How to interface with the public is an ongoing problem in my work. I am always looking for a function that my work can play. There has to be a reason for it."

"Really good art simultaneously reveals both good and evil. It brings up complicated questions rather than proposing smug answers."

"Much of the movement for sustainable living is just another form of commoditization, which simply creates new levels of desire. I see many advertisements for people to get new and expensive eco-friendly products, but little of the current mentality has to do with thinking about actual needs. Do you really need a car? Do you need all the clothes? Do you need a new computer every two or three years?"

"What I was responding to more directly was the idea of having limitations. And that's something I have come back to in my practice. There's a lot of rhetoric about freedom out there, but ultimately, most people feel more free when there are certain parameters, and I think we are really unaware of that. We are always trying to abolish parameters and abolish rules. But actually, rules can be constructive sometimes. They can catalyze creative impulses."

"There are so many versions of communes; it's not just one thing. But I don't think shared-property communes work. I think shared-labor communes work, versions of that that make sense."

"I think what I'm trying to say with my work is that when you look at all of the norms and assumptions about daily living, how many of these are arbitrary and made up? I'm trying to show there are other ways of doing things, not just my way or that way. (I'm showing) there are oppositional ways of living, and I'm breaking that open a bit but with the assumption that people would see the flaws in my proposal and maybe come up with their own."

"What I've been seeing going on -- and it's exciting that it might be changing even though it will be painful -- is this whole culture driven by consumption on every level. Not just monetary consumption, but consumption of experiences and time. I feel that as a culture that most of us are incapable of slowing down and having a real experience. You keep thinking that if you get another house or take another vacation or that if you make more money, that it will free you up. But it becomes a larger and larger web of entrapment."

"Teaching is a way for me to have dialogue with other artists who are completely engaged."

"the hard part is the demand for travel, the demand to produce, and you know, (the demands) of getting too caught up in the art-world hierarchy and not keeping track of what the real goal is. I think everyone struggles with that."

"The race, I`m a little sad. The time, I`m like, Wow. I`m stoked,..I`m really happy about the time. I knew I had it in me. This is a place to pop this kind of PR. I`m really pleased with the time."

"My actual finish down the straightaway is something I`m proud of,...That kick isn`t going anywhere."

"There was nothing wrong, I was in good shape. I felt good. I just ran really poorly. Two days ago (20 July 2012) I scared everyone and I cut it too close (in round 1). I am in good enough shape, but I have to realise there are more components to racing than putting one foot in front of each other."

"She was pretty far back, but she is smart and was on splits that were good for her, and she trusted that there would be victims of the early pace, which there were,...She closed hard and it`s a style that she really enjoys. Her last kilometer was about 3:01, which is really fast. She ‘PRed` by 10 seconds and we are thrilled."

"Today was a tough day. It was going to be a war of attrition and I knew that from the gun. I figured if we're going to hurt we might as well run fast."

"I think it was the best race for me. I got everything out of myself so I'm very pleased."

"I’m not an emotional person, but today was huge for me, I’m really proud of myself. You don’t get those moments too often, so I’m going to soak it in, be happy, then go back to being a competitor and try to take that next leap forward in racing down Boylston again. Today’s just as big as 2011 for me."

"At this point in my career I enter each race with a heightened sense of urgency and have become very selective in what races I'm willing to commit my time and energy to."

"I'm always grateful to be on the starting line and grateful to see the finish line just like every other 30,000 runners out there. I'm just like them. The conditions are tough today, but it's just so great to be here."

"I just feel like there is so much support and I want to do well for everyone else and it's the greatest motivator."

"I think sports have this great opportunity to bring joy and happiness into a world that’s sometimes a bit uneasy and disappointing and sad. It’s a great responsibility and honor to hopefully inspire people to be the best versions of themselves. If there are enough people in the world bringing the best versions of themselves to their work and families and communities, we would hopefully arrive at a place that is better. It’s an honor to be part of a culture and part of a group of women in the United States that’s doing it the right way, full of passion and dedication toward their sport."

"Visit the past, but don't stay there."

"Critical thinking is a threat to unhealthy systems, and questions make people think."

"Honesty isn’t betrayal; it’s courage. Stop sugarcoating your experiences and allow the truth to free you. People often misrepresent their relationships and experiences because they’re too afraid to admit what’s true. But denial will keep you from breaking free from your past."

"What you're searching for in others lies within you."

"Be the person you would have looked up to in childhood."

"You aren't what happened to you."

"understanding breeds grace."

"The most important question you need to answer is What do you want for your life? Bear in mind that what you want might not currently exist in your family."

"We can't stop others from neglecting us, but we can stop ignoring ourselves."

"Resilience is the ability to embrace what happened."

"Boundaries will set you free. (Introduction)"

"The ability to say no to yourself is a gift. If you can resist your urges, change your habits, and say yes to only what you deem truly meaningful, you’ll be practicing healthy self-boundaries. It’s your responsibility to care for yourself without excuses."

"Tell people what you need."

"We don't naturally fall into perfect relationship; we create them"

"How they treat you is about who they are, not who you are."

"The hardest thing about implementing boundaries is accepting that some people won’t like, understand, or agree with yours. Once you grow beyond pleasing others, setting your standards becomes easier. Not being liked by everyone is a small consequence when you consider the overall reward of healthier relationships."

"People don’t know what you want. It’s your job to make it clear. Clarity saves relationships."

"healthy people appreciate honesty and don’t abandon us if we say no."

"Discomfort is a part of the process."

"It’s true that setting boundaries isn’t easy. Paralyzing fear about how someone might respond can easily hold us back. You might play out awkward interactions in your mind and prepare yourself for the worst possible outcome. But trust me: short-term discomfort for a long-term healthy relationship is worth it every time!"

"we victimize ourselves further when we let our fear prevent us from doing what we need to do."

"It may be hard to just listen without offering advice as people share their problems, but this is often the best support we can give."

"We simply can’t have a healthy relationship with another person without communicating what’s acceptable and unacceptable to us."

"Fear is not rooted in fact. Fear is rooted in negative thoughts and the story lines in our heads."

"Avoidance is a passive-aggressive way of expressing that you are tired of showing up. Hoping the problem will go away feels like the safest option, but avoidance is a fear-based response. Avoiding a discussion of our expectations doesn’t prevent conflict. It prolongs the inevitable task of setting boundaries."

"Remember: there is no such thing as guilt-free boundary setting. If you want to minimize (not eliminate) guilt, change the way you think about the process. Stop thinking about boundaries as mean or wrong; start to believe that they’re a nonnegotiable part of healthy relationships, as well as a self-care and wellness practice."

"It’s okay for a small child to set limits like not eating meat or feeling uncomfortable around certain people. Parents who respect those boundaries make space for their children to feel safe and loved, and they reinforce the positive habit of articulating needs. When parents ignore these preferences, children feel lonely, neglected, and like their needs don’t matter—and they will likely struggle with boundaries as adults."

"Burnout is a response to unhealthy boundaries."

"I think a have so much fear about speaking out or just having an opinion on something."

"I wanna be the perfect"

"Motherhood is the thing that has touched me the most, really normalizing mothers in sport and women not having to choose between that part of life and staying in their professions"

"Becoming a mother and looking at my daughter and the world she’ll grow up in helped me find my voice and speak on some things I would’ve shied away from before."

"We must see this clearly for what it is—a maternal health crisis. That is why we must continue to fight to protect the lives of every woman and every mother in our nation"

"You have to let your history and your process and your longevity speak for you."

"I needed to redefine the definition of success, and I needed to change the narrative. Just because I’m not on the national team doesn’t mean I’m not successful. It doesn’t mean I’m not a great player."

"I really started working on staying present. Not thinking about the past, not thinking about the future, just thinking about today. It just makes things easier on yourself, easier on the mind."

"I just focused on the Reign and being the best I can be for them, Because ultimately, that is going to have me playing my best soccer, which is what would get me called up for the World Cup."

"I’m just playing and having fun, Huerta said a few days before the U.S. roster drop. Because ultimately, it’s Vlatko’s decision. It’s out of my hands. I just have to keep doing what I’m doing, and hopefully, he will choose me."

"At this point, I have nothing to lose because I’ve been told no so many times in my career, Being pushed out and then coming back up creates a lot of strength in itself. But I think at this point, my mentality is a lot less anxiety and a lot more excitement. I appreciate where I am as a player now."

"My career has not been easy, whatsoever, I was never with youth teams. It hasn’t been linear, hasn’t been a guarantee. That’s what makes my journey so unique, and I love to be a representation for people who feel like that."

"I think it’s important for that community of young boys and girls to see that name, and know that they can do what I do, I represent those who don’t have an easy journey."

"There’s two: the best gift you can give anyone is a well-lived life of your own. And no one thing will make or break you."

"The world of comedy is such a microcosm of the entire world these days, it’s just so divided. I think the negativity starts to really get me down so I try to gravitate more towards nicer, sillier people and vibes."

"Well, I am a firm believer in the healing powers of food, I noticed an immediate difference in my day-to-day pain levels after changing my diet."

"And I think a lot of people struggle with depression and mental illness, and have issues and problems with their family. The mailman has it, your neighbor has it, it's just that comedians have a microphone."

"People love to make comedians out to be miserable, dark, twisted people."

"I was a track rat and was always around cars with my family. I really got excited about the Trans Am series when my dad was running in it in the late 1990s, early 2000s, back when in the days of Tommy Kendall. He raced against him and Paul Gentilozzi and people like that."

"It's great when you get to celebrate and everything is going your way but obviously when things aren't going your way or tensions are high or tempers are flaring, you have to remember at the end of the day that you're family. But I wouldn't want to do this with anyone else. I could, but it makes it all the better that that's who I get to do it with and get to share my experience with."

"I think there's always been more females running than people realize, I think that sometimes you just don't hear about it as much. In today's society people are more accepting of certain things, and they might go more out of their way to accept that a female is good and has proved herself… There's also more equal opportunity now for some of us then there was in the past."

"Our primary goal is to finish the race and get the best finish that we possibly can so hopefully that's a win"

"Self-giving is an act of self-valuing because it presupposes that the person is valuable enough to be considered a gift. Self-giving is inherently more social than self-interest, even rightly understood."

"When we decided to have the series [Molly of Denali] highlight Alaska Native culture, we knew that this was not our story to tell. The production team at GBH reached out to members of the Alaska Native community who graciously agreed to be our collaborators to ensure that we were accurately portraying that culture."

"A highlight for me in working on this special was the chance to learn more about Molly’s Gwich’in heritage both in terms of the new relatives she meets and her encounter with parts of the culture that are uniquely special, like the porcupine caribou herd. It was especially exciting to see the herd come to life through Atomic’s incredible animation."

"What my mom would say to me is that people will remember who you are, for the kind of person you are, rather than what grade you get on a test, or if you win a soccer game or a basketball game."

"Your teammates will remember you for the type of teammate you were. I think who you are when you don't win and how you support your teammates says so much more about you than who you are when you win"

"I had no idea how much support I would receive or how much support so many of my teammates and other brave people who spoke out would get"

"The more that we can be honest and talk about if we're struggling, or we're feeling self-conscious, and we can normalize that conversation, I think we'd be surprised how many other people actually feel self-conscious, too,"

"I think when you turn pro, it becomes so much more important to take care of your body."

"There are so many incredible players on the national team. They feed me the ball and then I can feed them the ball. Honestly, they make me look good."

"Growing up, I always loved the creative side of the game."

"I’m not thinking in that moment. When I’m playing my best, I’m free flowing. I’m just doing what I feel is on, finding the space naturally."

"The confidence you have in yourself is going to be the thing to get where you want to go. Rely on that confidence in yourself and not someone else’s opinion of you."

"I know firsthand what a life-changing difference charitable organizations can make, especially to a child, because I was one of those children"

"Some would say I was born into underprivileged circumstances. I think of it as a gift. It made me who I am today, and that is a woman who is committed to working hard, having a clear perspective, putting my family first and giving back."

"If it were not for the charity of others, I never could have provided for my siblings"

"You have to cook with your heart in order to make your guests feel the soul of your cooking. You can be a great cook and a great chef, but if you don’t have the passion then it is not going to translate to the guests."

"I get my inspiration from everywhere, and admittedly mostly from places that aren’t food related. I love going to museums, because art really inspires me. When I look at cookbooks, I tend to like the ones that are super artistic- more art books than cookbooks."

"When I was younger I tried to be the chefs that I saw and thought were successful, but that doesn’t work. I was young and trying to make a name for myself. I was trying to make their style of food or personality, but I quickly realized that it wasn’t going to get me anywhere."

"I will tell you this, there is nothing more rewarding than seeing children winning awards and seeing the boost in confidence they get"

"We’re for all kids, but we make a point of trying to appeal to those with special needs, and not everyone is an athlete either. But everyone can learn how to barbecue."

"They think they’re learning about barbecue, but it’s life skills, it’s a work ethic. It’s more than barbecue."

"To be a part of this cast was really amazing, because of the wealth of knowledge that was there, and the representation of different cultures was awesome"

"Editing yourself is extremely important, to make sure that you're reminding yourself constantly that less is more"

"And just staying focused and cooking my food. Those are the things I took with me."

"It’s not about making space at the table, because we’ve been at the table. Filipinos have been working our butts off for chefs cooking other people’s cuisine. It’s time to cook our food."

"The thing that I’m most excited about is the sense of pride. There is a sense of pride to be Filipino again, and that has come from food."

"When we talk about pride, we are reclaiming it. We are giving value to not just food, but to ourselves, and to our history, and honoring the struggles that our parents went through. And I can talk about my dad a lot, but my mom, she has been my biggest cheerleader. She has been at every single event."

"Because of the colonization that occurred in the Philippines, we were never given a sense of value. Because of that, we never gave value to our food"

"My relationship is just as normal as anyone else’s. I go about my day the same way anyone else would -in the same way, a heterosexual couple would go about their day. I wake up in the morning. I tell my wife I love her. I go to work. I come home. We cook dinner together. This is normal. As any husband would love his wife, or any wife would love her husband -that’s the same way I love LaTaya."

"Telling Lorne was really hard."

"This is fresh. It only happened two months ago."

"I felt ashamed, because we’re not supposed to, and there’s something unprofessional about it."

"The most meaningful moments were moments when, like on a Friday night at rehearsal, I decided to stop and look around at the people who I loved so much and just make a memory of it. Nothing special — we were all just sitting around, and Mikey [Day] was doing a bit or Alex [Moffat] was doing a bit, and we were catching up and just looking around at the crew. Those are the moments that meant the most."

"During our Zoom interview just before Labor Day. She notes that nothing less that winning each World Cup is the expectation placed on the USA’s women."

"“It’s the standard that this program and team has set.”"

"“I think we have to look at the fact that during this World Cup, we were coming off back-to-back victories. You can’t ignore the way this program has led (soccer) for over twenty-plus years from one bad result. There’s so much talent in this country.”"

"“Whoever the next coach has amazing players to choose from, and it’s about putting them in a position to be successful.”"

"It is who I am. Who I have always been. I have embraced this attitude as a young girl. They used to call me a tomboy when I was small. I thought that label was kind of insulting because it was taking away the fact that I was a girl and a woman. Calling girls a tomboy makes it seem that you are less of a woman just because you have athletic skills."

"I just went ahead and followed what was true for me because it was sincere. I figured out that people were wrong judging me. The inner authentic choice I made was to follow my passion in this way. Very early on, I realised that I should not assume that the judgments, culture, or even traditions are right for me."

"The more you prepare before you start, the more you will be relaxed. You have to recognise that you might be scared, you might be stuck, not knowing what to do. You might feel uncomfortable. You might get distracted by something in the audience. Mostly, I just accept that if that happens I am not going to try to resist it."

"So I am scared, pumped, not sure what to do. If that happens, I take a very quick pause, a sort of a reset button which I call a mental shift. I stop. I make a quick assessment."

"I do not climb to put myself in real danger like that. I climb because it is a lifestyle. It is fun. If I had to risk my life every time I climb, I would not think that would be fun"

"It's true but I think it's also because Gigi wanted to see certain players, and she was into it,"

"Remembers Bryant telling her how good of a player Gianna was. "He was like, 'Lis, like, she got it,'"

"He's clicking and pausing. 'Look, look, look, Lis, watch, watch."

"Gianna didn't have the chance to reach her full potential before the helicopter crash that killed her, her dad and seven others,:"

"We know what Kobe's accomplished, but Gigi hadn't, she didn't have the full opportunity to do that,"

"Adding that Gianna had the mentality to succeed like her dad. "Mambacita was going to make it,"

"Referencing her NBA dad's "Black Mamba" nickname. "She was going to be in the WNBA."

"I try to lower my expectations because you get pretty excited. You have a lot of family and you want to win, you want to play so well and do well, But I’ve learned to calm down a little bit and lower my expectations."

"I loved it, A lot of drivers off the tee, which I think is great. A lot of character. Greens are massive, so a lot of long putts. And they’re fast … probably a lot of 10-feet-and-in putts for par and long lag putts."

"The most important thing an author can do is to be authentic, to be true to the times and the character - what the character would say and do. To be called “Black” during Mary’s time would have been an insult."

"We didn’t have missteps, but when the book opens with the incident at the luncheon, we both thought it was horrible, but Marie thought it was more horrible than I did. … If Mary had to count and remember all the slights in her life, she wouldn’t have been able to move on."

"You can suffer the pain of change or suffer remaining the way you are."

"I want you to know and really understand that anyone who has been abused can fully recover if they will give their life completely to Jesus."

"One of the greatest revelations of my life is: I can choose my thoughts and think things on purpose. In other words, I don’t have to just think about whatever falls into my mind"

"Forgiveness is not a feeling,it’s a decision we make because we want to do what’s right before Gode."

"Just deciding to forgive isn’t enough because willpower alone won’t work,we need divine strength from God."

"Praying for those who have hurt us is vital to successfully forgiving them."

"Self-righteous attitude is a sin that we can be blinded to because we’re so focused on what the other person did wrong."

"Unforgiveness finds excuses to talk about what people have done to us, and we’ll tell anyone who will listen."

"Guinevere van Seenus, who I have photographed for more than 20 years, was one of the most important muses. Delicate but decisive, masculine but feminine, a hymn to creativity, imagination and dreams. (Paolo Roversi)"

"I don't think about race before I start drawing. I think about how to make that mark to fit whatever purpose I need it to fulfill. Being a black artist, the first thing people want to talk about is your blackness, the importance of your blackness, and your black presence."

"Being a black artist, the first thing people want to talk about is your blackness, the importance of your blackness, and your black presence."

"The graphic style itself is influenced by a lot of very layered and detailed comics that I read as a kid, like 'Vagabond' by Takehiko Inoue."

"For a while, I was nervous about portraying women because of the objectification that automatically comes with it, whether the artist intends or not."

"I'm really interested in independent publishers and memes and mini comics. But even before that, I was interested in Japanese manga and anime."

"I moved around a lot when I was a child; two of the houses I grew up in have totally disappeared. One was burnt in a riot, and the other was pulled down."

"I kept wanting to push my image as validity; I wanted to see my portrait on a wall and know it was okay."

"The social media bit is really about documenting process. I like the dialogue if it's constructive, but I'm now at a crossroads. I've accumulated a lot of followers, and it's great, but I'm also at that teetering point where people are feeling themselves a little too much, commenting a little too much."

"My identity is not based on performance; it's based on something that's pre-determined by someone else, and I don't even understand what that is because I'm an African who came to America."

"When I was in school, I conceptually didn't want black people to have context, to take it out of all that history. I wanted nothing to indicate where they are or what time it is, to place them anywhere."

"I don't think about race before I start drawing. I think about how to make that mark to fit whatever purpose I need it to fulfill."

"241 quotes from Iyanla Vanzant: 'Everything that happens to you is a reflection of what you believe about yourself. We cannot outperform our level of sel."

"You can accept or reject the way you are treated by other people, but until you heal the wounds of your past, you will continue to bleed. You can bandage the bleeding with food, with alcohol, with drugs, with work, with cigarettes, with sex, but eventually, it will all ooze through and stain your life. You must find the strength to open the wounds, stick your hands inside, pull out the core of the pain that is holding you in your past, the memories, and make peace with them"

"The only way to get what you really want is to let go of what you don't want."

"When you need to be loved, you take love wherever you can find it. When you are desperate to be loved, feel love, know love, you seek out what you think love should look like. When you find love, or what you think love is, you will lie, kill, and steal to keep it. But learning about real love comes from within. It cannot be given. It cannot be taken away. It grows from your ability to re-create within yourself, the essence of loving experiences you have had in your life.thumb|Visit of Iyanla Vanzant to HUD (cropped)"

"In all ages we have had artists and orators; people who held the "sacred fire" as their inheritance among men an inheritance more powerful than gold, or wonderful jewels, or landed estates."

"And the works of artists in clay, marble, and iron, and on canvas are enduring, and eagerly sought for. But the most wonderful of all, the power of the human voice, goes to the winds and is lost forever."

"Do not, while young, try to impersonate old or disagreeable characters. There will be time enough for that when your youth is past ; and, beside, the world delights to look on youth, and prefers to carry away from an entertainment only thoughts of gladness, joy, and sunshine. Therefore, however much you may desire to do heavy tragedy, or raving maniacs, "Don't!""

"The dress should be the setting and not the gem."

"“I would like to join the Honorable Minister of MIGEPROF to applaud parents and caregivers for being there for their children and taking on the additional roles inflicted upon them by the pandemic,"

"“With this campaign, we are focusing on positive parenting and mental wellness to support and encourage parents with resources on how to cope during COVID-19."

"“UNICEF will continue to work with the Government and private sector to support investments in parenting programmes and family-friendly policies in the country,”"

"“Congratulations to the Government and people of Rwanda upon this historic moment. Children, women, and men all over the country can breathe a sigh of relief knowing that Rwanda has taken its first steps towards recovering from the pandemic,”"

"This also comes to reduce the funding gap and bridge digital divide in schools, which is a barrier to quality learning,”"

"“Play is our brain’s favorite way of learning. We’re thrilled to partner with Kina Rwanda to provide children from all walks of life, from all over the country, the chance to play, laugh, and dance, but most importantly, learn by gaining problem-solving skills, and increasing their creativity and resilience – skills that will prove immeasurably important as they grow up.”"

"“This report’s explicit focus and analysis on proving the business case for investing in childcare services should serve as a useful prompt to encourage private sector companies to rethink the drivers and impacts of these investments from a bottom-line perspective,”"

"When they do, and when the workforce responds, private sector and community childcare examples can serve to encourage the public sector to proactively engage in supporting systemic solutions to the childcare crisis.”"

"There are already good initiatives happening in the telecommunication and banking sector but the agency is challenging other sectors to come on board to improve the welfare of staff and their children."

"We are challenging them to increase their maternity leave to four months and increase the paternity leave to at least two weeks,”"

"Imihindagurikire y’ibihe ishobora no kongera ibyago byo guhura n’ihohoterwa ku bana. Ni ingenzi rero ko tugira ibyo tubikoraho kubera abana bacu, tunashyigikira abarimu babo babaha ubumenyi.”"

"Today marks a significant step forward in our collective commitment to ensuring that every child has the opportunity to thrive. The launch of the Ear and Hearing Care Programme is a testament to the power of partnerships in transforming the lives of children and adolescents with disabilities."

"We are thrilled to support the specific needs of children and adolescents with hearing impairments by providing digital assistive technology, which opens doors to communication, education, and a brighter future. Obviously Huye is one of the primary beneficiaries of the EHC Programme that has a great need.”"

"“Even during the COVID-19 pandemic, we cannot afford to give up on a child’s education. We are happy to work with the Government of Rwanda, which has shown such pro-active concern with the continuity of education,”"

"We encourage parents and caregivers to support these remote learning opportunities as much as possible, because it is only with your help that, together, we can minimize the negative impact on children during these school closures.”"

"I am board certified in internal medicine. People are getting good evidence-based medical care here,” Dr. Lindsey said. “I also look at aging not as an inevitability, but as a disease process and one we should be intervening on."

"“There are evidence-based ways we know can turn back our biological clock and be younger than our chronological age. For my patients and myself, our biological ages, based on the various aging tests I do here, run on average 15-20 years younger than our chronological ages. Anything that can help your body renew or regenerate itself, keep you young, your brain sharp, healthy, your body at a high-performance level, I’m in so long as it has proven safety and efficacy.”"

"“The most rewarding part of my job is keeping people healthy, young, and performing at the highest level. If someone does have a problem, I listen carefully and do the right tests to make a correct and early diagnosis,” Dr. Lindsey said. “I do a lot of risk mitigation. Let’s figure out what you’re most at risk for in your health. Let’s do everything we can to prevent cancer rather than diagnose it.”"

"High-functioning entrepreneurs,” a group she identifies with. “I focus on helping people increase their health span and continuing to function at a high level,” Dr. Lindsey said. “I’ve started and run businesses myself and am involved in the business community. Entrepreneurship does have its unique stresses and strains — for the business owners and their families. I focus a lot on brain and cognitive health as well as physical/hormonal health and performance.”"

"UNICEF is deeply grateful to the Japanese Government for its financial support to strengthen Health and WASH programmes for individuals most in need. It will make a critical difference for promoting adolescent health particularly during the COVID-19 recovery period and reduce the risk of WASH-related diseases among vulnerable populations,”"

"“Itetero.rw” goes beyond children, offering valuable information for teenagers. Notably, the program has garnered immense popularity, with 6 million viewers on Rwanda Television and 8 million subscribers on YouTube, attesting to its significance in reaching a broad audience."

"It's queer what things stick in a child's mind. I can still remember where we used to have our supper, and the general plan of that part of the White House where we were allowed to play. I can also remember our last day there, when we were waiting for the carriage to convey us to the railway station. I remember the satisfaction with which I wore my little gloves in preparation for the journey. There is one thing I do not remember, but which members of the family have told me. I was sitting there very primly, waiting to leave the White House, when one of the attaches said, teasingly: "Why are you leaving us?" I am supposed to have replied: "'Cause there can't be two presidents!""

"One of my nicest memories is of father having me downstairs in his study before I went to bed. He would put me on his knee and encourage me to put my fingers in the ink pots on his desk and draw pictures on his huge blotters. He loved it, and of course I loved it too."

"I am all for President Kennedy and his wife - they are Democrats like my father. I will be glad if it is one of their children who follows me in being born in the White House. ... My husband and I were at breakfast when we heard the announcement [of the First Lady's pregnancy] on a radio news program. We laughed when the announcer said the only [president's] child to be born in the White House was born there nearly 70 years ago. It rather brought home my age to me."

"I think by now I have pretty well absorbed the British "way of life," but that does not mean that I forget for one moment that I am thoroughly American. Perhaps it is because I am so much of an American that I have been able to adapt myself so easily to English ways."

"Everything comes from drawing out my ideas."

"Things Fall Apart."

"Popular culture is one part of teeming life that everybody, all of us, are involved in,"

"Everything I have done and experienced gets into the work somehow or another—my childhood, my family life, my grad-school days."

"My work is very much about being in the city. It's very much about the streets and the buildings and the feeling of enclosure. And in that sense New York is very conceptual. I'm not an intellectual, not by any means. I admire those minds very much. But New York is about enclosure and the energy of enclosure, and has a kind of a tough irony. I mean, it's a city of complete contrasts and some bitterness, conflict, anger, and it's also a … place of enormous hope."

"I realized that God wanted to use me through sports. I know that I've been successful through God’s grace. I had to ask myself, "do you think you'll be able to impact other athletes?" and thought, I really think I can, and I want to."

"For my topic today I have chosen a subject connecting mathematics and aeronautical engineering. The histories of these two subjects are close. It might appear however to the layman that, back in the time of the first powered flight in 1903, aeronautical engineering had little to do with mathematics. The Wright brothers, despite the fact that they had no university education, were well read and learned their art using wind tunnels but it is unlikely that they knew that airfoil theory was connected to the Riemann conformal mapping theorem. But it was also the time of and later who developed and understood that connection and put mathematics solidly behind the new engineering. Since that time each new geernation has discovered new problems that are at the forefront of both fields. One such problem is flight near the speed of sound. This one in fact has puzzled more than one generation."

"The women who earned their Ph.D.'s in mathematics during the forties and fifties include some of the most distinguished mathematicians and mathematics educators of this century. Julia Robinson, Cathleen Morawetz, and Mary Ellen Rudin are probably the best-known women mathematicians of this generation."

"In thinking about the ethics of accountability in research (whose lives, lands, and bodies are inquired into and what do they get out of it?), the goal of “giving back” to research subjects seems to target a key symptom of a major disease in knowledge production, but not the crippling disease itself. That is the binary between researcher and researched—between knowing inquirer and who or what are considered to be the resources or grounds for knowledge production. This is a fundamental condition of our academic body politic that has only recently been pathologized, and still not by everyone. If what we want is democratic knowledge production that serves not only those who inquire and their institutions, but also those who are inquired upon (and appeals to “knowledge for the good of all” do not cut it), we must soften that boundary erected long ago between those who know versus those from whom the raw materials of knowledge production are extracted."

"A researcher who is willing to learn how to “stand with” a community of subjects is willing to be altered, to revise her stakes in the knowledge to be produced."

"Many of the most obscure images and turns of phrase in the Rig Veda make sense as poetic realizations of specific ritual activities […] every apparent barbarity in syntax, in word choice, in imagery is deliberate and a demonstration of skill whose motivation I must seek."

"I am not a poet: I can enjoy the talents and artistic sincerity of a Rig Vedic poet, but I cannot emulate it or imagine how it feels to be part of this creative tradition. I am a scholar (though not a theologian), and I can appreciate internally the intellectual effort and acuity employed to make sense of the religious traditions that confronted the scholar of the Bráhmana period. I would hope to have in some measure the same controlled intelligence, the flashes of insight, and the empathy that these ancient scholars brought to bear on the tradition they were trying to explain, and I would also hope that they would appreciate the fact that this tradition remains an absorbing intellectual puzzle to this day."

"The more I read the Rig Veda the harder it becomes for me – and much of the difficulty arises from taking seriously the aberrancies and deviations in the language… One can be blissfully reading the most banal hymn, whose form and message offer no surprises (I have come to cherish such coasting) – and suddenly trip over a verse, to which one’s only response can be ‘What??!!"

"Within its soberly academic trio of hardback volumes, however, seethes an incoherent mix of mumbo-jumbo and misplaced obscenity, most of it apparently meaningless. It reads like a burlesque version, in the style of Hamlet Travestie, of a long lost original... Strangely, though, ‘spoked wheels’ have been introduced twenty-two times into this translation, as a new interpretation of the word aratí. This epithet of the fire god was previously understood to mean ‘servant’ or ‘messenger’... Given the current frantic search for evidence of ‘spoked wheels’ in the remains of the Indus Valley Civilization, the translation could even be considered irresponsible... As Hamlet Travestie slid into Dogg’s Hamlet I found myself wondering: could this be a long-hatched plot by the Pentagon to destroy Hindu fundamentalism at its heart?"

"Established religion sees religious faith as the sacred ideology of the dominant social order. Religion is the 'handmaiden' of the ruling class. It defines this established social order as one that has been created by God and is the reflection of the divine will. Its words for God reflect the titles of the rulers. God and the rulers are called by the same names and are imaged as looking alike. The rulers thus appear to be like God, to have a special closeness to God and to represent God on earth."

"Prophetic faith, by contrast, sets God in tension with the ruling class by having God speak, through the prophet, as advocate of the poor and the oppressed."

"The word of God comes through the prophet to denounce the unjust practices of the rich and powerful who grind the faces of the poor and oppress the widow and the orphan. The prophet also denounces the corruption of biblical religion itself into a religious establishment that has become purely cultic and has turned away from the social meaning of faith, which is justice and mercy."

"The prophets in Hebrew Scripture and Jesus in the Gospels are figures in conflict with the religious establishment. They denounce the use of religion to sacralize unjust privilege and to ignore the needs of the people. Prophetic faith announces a God who is active in history, to overturn an unjust social order and to transform the world into a new social order where there will be no more war, no more injustice, where justice between people and harmony with nature has been restored and all creation will be in communion with God."

"Queer theory proposes to think identities in terms that place as a problem the production of normalcy and in terms that confound the intelligibility of the apparatuses that produce identity as repetition."

"If one cannot feel one’s way into people without, in actuality, representing the self as the arbitrator and judge of the other’s actions and possibilities, perhaps it is time to question what one wants from empathy. ... A more useful way to think about feelings requires attention to what it is that structures the ways in which feelings are imagined and read."

"I don’t want to believe them, I just don’t want to believe them"

"These are still allegations, I can’t prove or disprove them. I’ll never know the truth. The allegations don’t describe the father I knew."

"I’m flattered that people are thinking about me in that position [borough president], but I like what I’m doing"

"What’s strange is I never told anyone I was interested in the job. In the last six months not a week goes by without someone asking me if I’m running. I ask them, ‘Where did you hear this?’"

"There are a lot of very good people running for this position,"

"I’m not throwing my hat into that ring."

"If Robert Morganthau ever decided not to run again, that is something I would look at"

"I’m not considering running against him. Only if there’s a vacancy. I think he’s saying he’s running — so we could be talking 2009."

"I think I’m learning how to release every day. Recognizing that everything you encounter, touch, or love can become part of you, and in essence never disappears, as long as you can recall it to memory or heart. It’s all so connected that we lose everything, but also, we never lose anything."

"It doesn't feel like it's just originating from my brain. It feels like I'm following an invisible thread of intuition, from one choice to the next... maybe I don't even fully understand once I've written it, but it just feels right. And I just trust that. And then over time, it reveals its layers of meaning to me. That's a mark of what I feel is a good song. It keeps me wanting to play it."

"Real love makes your lungs black Real love is a heart attack"

"This place smells like piss and beer."

"I drove in circles 'round the freight train yard and he turned the headlights off Then he pulled the bottle out then he showed me what was love"

"I see all parallels."

"There's only so much letting go you can ask someone to do."

"Lenker isn’t the room-swallowing presence that [Frances] Quinlan is, but she more than makes up for it in commanding songcraft, which skews dynamic, dissonant, and placid without ever changing its sepia tone."

"If you’re as honest and fair as you can be, not only in business but in life, things will work out."

"I don’t think that fashion is something people encourage in a lot of schools, but I think they should — it’s all about personal expression."

"["Your Dog"] comes from a feeling of being paralyzed in a relationship to the point where you feel like you are a pawn in someone else's world. The song and the video are meant to show someone breaking away and taking action, but at the same time, it's only a quick burst of motivation. It's a moment of strength amidst a long period of weakness."

"Getting off social media was the greatest thing I could have done in terms of my relationship with fans. That sounds really counterintuitive, but when you meet people in real life, the experience is often really pleasant. I can’t remember the last time I had an actual bad time, except if someone was being a little strange or taking too long. The part that can start to make you feel really alienated is sitting on Instagram and interacting with a stranger. I’m just not that type of person. If I’m not on social media, I speak to maybe five people on a daily basis. I just don’t have any desire to be any other way. [...] It gives you such a negative view of what fans are thinking or what they want from you. [...] Flooding yourself with strangers is too much."

"I don't wanna be your fucking dog That you drag around A collar on my neck tied to a pole Leave me in the freezing cold."

"I found God on Sunday morning laying next to you My arms stretched out like Jesus White sheets nail me down to the bed."

"Mary has a heart of coal She’ll break you down and eat you whole I saw her do it after school She’s an animal."

"I am fake it till you make it in a can And you have a calmness that I could never understand"

"I try to break your walls but all I ever end up breaking is your bones And the bruises show Standing in the living room talking as you’re staring at your phone It’s a cold I’ve known"

"I lost myself to a dream I had And I’d never give it all away But I miss feeling like a person"

"I’m barely a person Mechanically working"

"This soft music is not precious. It’s gnarly and intense, like the heart itself."

"Whether you’re reminiscing about late-night make out sessions in high school or surrounded by plenty of “cool” girls in your city, Soccer Mommy’s is something that defies age."

"Some of the magnetism of her pop-inflected indie rock comes from the winding shape of her melodies; in their unpredictable motion, they often resemble counterpoint written to a root melody that’s been erased."

"Bill [Monroe], in some ways, he was very inarticulate about his feelings. In other ways, he was very profound about his feelings. And when you got him into a certain mood where he was being more introspective, he really could be very profound, I felt."

"You don’t get to dictate the terms under which the work you put out there is received. “Mlle Bourgeoise Noire” is an extremely directed body of work. This trilogy that I did, [it was all about] what’s wrong with the art world, and what we need to do to remedy it. That work became so popular that it just took over. It’s been a bit of a struggle to get the other work—which is more what I consider the core of what I’m about, the anti-binary argument and all that—that’s a little bit harder to establish, I’ve found. "Lorraine O'Grady Has Always Been a Rebel" The New Yorker (interview by Doreen St. Felix published on September 29, 2022)"

"Kathleen’s appellate skills and contributions to the practice of law have been widely recognized and honored."

"In other recognition, she has been repeatedly named a leading individual in Chambers USA, which reports that clients have described her as tremendously agile and a fabulous advocate, a consummate practitioner before any appeal court and a brilliant appellate lawyer."

"Fineman is a truly generative and transformative scholar, spurring people to think in new ways about key terms like dependency, mautonomy, and vulnerability and about basic institutions such as the family and the state."

"I am committed to interdisciplinary scholarship that crosses traditional sector lines. The Wilson Center provides an ideal setting for such work."

"Hattie Babbitt has been a distinguished public servant, and the Center is delighted that she will be joining its community of public policy scholars"

"She will be an asset for the Center, and I know many of our scholars will want to draw on her extensive experience. Her work on issues of globalization, the information technology revolution, and the U.S. response capability to these post-Cold War developments dovetails with several key themes being emphasized in the Center's ongoing work."

"In every position to which Miss Bagnelle has been chosen, whether that of teacher, principal of schools, member of the board of education or county superintendent of schools, she has impressed her individuality upon her associates, and by originality of ideas, breadth of knowledge and success in discipline she has won the esteem of the members of her profession and the patrons of the public schools."

"Many of the qualities that have contributed to Miss Bagnelle’s success in educational work come to her from a worth ancestry."

"Eunice Allen see the Indians comeing And hoped to save herself by running And had not her petticoats stopt her The awful creatures had not cotched her Nor tommyhawked her on her head And left her on the ground for dead."

"Although the enthroned figure with its large head and sex organ defies identification, it is like figures shown—the other unidentified—in a yoga posture. On either side of the enthroned yogi and above his arms, a tiger and an elephant are on his right, a rhinoceros and buffalo on his left, and two antelopes are below, that is, in front of his throne. The composition of this steatite relief is hieratic. The horn-crowned and enthroned yogi forms an isosceles triangle whose axis connects the middle of the bifurcating horns, the long nose, and the erect phallus of the deity."

"The "time" of Prajapati, or Prajapati’s Time, allowed itself to be laid out spatially in a work of architecture. The time of Shiva flowed into the movement of the limbs of Shiva, the lord of the dance. Works of sculpture and architecture demonstrate, each in its own form, the time of which they are the symbols. The building of the Vedic altar, by the accompanying words of the sacred rite of architecture, is self-explanatory. Symbolically, time—the time of the seasons—was built into the altar. The form of the altar comprised time, conceived, as it were, in terms of space."

"The temple is the concrete shape (mūrti) of the Essence; as such it is the residence and vesture of God. The masonry is the sheath (kośa) and body. The temple is the monument of manifestation."

"Yesterday was unexpectedly my last day in the Office. I was summarily fired via memo from Main Justice that did not give a reason for my termination. Every person lucky enough to work in this office constantly hears four words to describe our ethos: Without Fear or Favor. Do the right thing, the right way, for the right reasons without fear of retribution and without favor to the powerful."

"For the majority of my nearly ten years in SDNY, fear was never really conceivable. We don't fear bad press; we have the luxury of exceptional security keeping us physically safe; and, so long as we did our work with integrity, we would get to keep serving the public in this office. Our focus was really on acting "without favor." That is, making sure people with access, money, and power were not treated differently than anyone else; and making sure this office remained separate from politics and focused only on the facts and the law."

"We have entered a new phase where "without fear" may be the challenge. If a career prosecutor can be fired without reason, fear may seep into the decisions of those who remain. Do not let that happen. Fear is the tool of a tyrant, wielded to suppress independent thought. Instead of fear, let this moment fuel the fire that already burns at the heart of this place. A fire of righteous indignation at abuses of power. Of commitment to seek justice for victims. Of dedication to truth above all else. It has been an honor to fight for those principles by your side."

"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."

"I’m an admitted Hillary fan-girl, but even the coldest hearted Republicans will have to admit that she has always wanted every American to have health care, a chance at a quality education and opportunity for a bright future."

"President Trump has abused the power of his office to benefit himself to the detriment of the public good, which is an impeachable offense. If mental gymnastics were an Olympic sport, Republicans desperate to defend Trump would all be gold medal contenders."

"The framers of the Constitution created impeachment so that the president of the United States could be held accountable for misconduct. Sure, Trump doesn’t like it. But he doesn’t have the power to ignore the Constitution and follow only the parts of it that he likes."

"The Constitution created a system of checks and balances designed to prevent the president from becoming a king or a dictator. Our founders had just fought the Revolutionary War to create a democracy – not to simply replace a British king with an American monarch."

"It has always been a central plank of Donald Trump’s approach to politics to make us doubt what the media tell us and, more often than not, what we hear and see ourselves. The president’s path to success runs straight through widespread disinformation about everything from election security to health care to immigration."

"It’s hard to tell people things they don’t want to hear. It is my job and figuring out a way to do it that will be listened to, palatable and maybe even persuasive."

"I can't stand Jessica Tarlov of THE FIVE. A real loser!!! DJT"

"Why does Fox News allow failed TV personality Jessica Tarlov to 'soil' The Five? Her voice, her manner, and above all else, what she says, are a disgrace to television broadcasting."

"I have gloried in my rebel countrymen! Would to God I, too, had been a patriot."

"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."

"The Smithsonian, for all of us who live in Washington, is a very important part of our total experience. I can remember coming to the Smithsonian as a child with my parents, coming with my two sons after church and much later with my two little granddaughters. I feel very warmly about the Smithsonian"

"I love this opportunity every day I have to come to work to provide amazing public service to all the taxpayers of this almost one-million-person county"

"“Recognize and embrace your uniqueness. I don’t think the ratios are going to change anytime soon. But I don’t think it has to be a disadvantage. Being a Black woman, being a woman in general, on a team of all men, means that you are going to have a unique voice. It’s important to embrace that."

"Most companies are now required to have at least one diverse member on their board or they won’t get underwritten"

"I started my career in design and found hardware and materials engineering by digging deep into design problems. I just kept digging and digging, and this led me to eventually have ideas for developing my own materials. However, a material that can only be made in a small swatch isn't very useful, so the need to scale led me to advanced manufacturing. I see myself very much as a physical product person. If someone wants to make innovative things in the real world, they will eventually need to touch advanced manufacturing in some way!"

"Getting a new process into production is an exercise in resilience. We are constantly trying to troubleshoot unexpected issues, and the unknown can be difficult. However, this is also what makes the work mentally stimulating and fun!"

"The invention for sure! I work more on the business and strategy side these days, but I love it when I get the chance to see parts from the factory, or see prototypes. It's really satisfying to see ideas become real through engineering, design, prototyping, and production."

"We make electronic textiles, and the word "textile" always makes people think of shirts and socks. In reality, we manufacture electronic components for cars, robots, and more. They would be surprised to know that we don't spend much time weaving and sewing and spend most of our time testing the electrical performance of components and laminating things."

"More than anything, I think it's important to be a critical problem solver when working with new technologies. If something you're doing isn't working, don't worry, wine, or wander around. Just change one variable, try again, and measure the result. Eventually, you'll get there!"

"We do work for engineers and designers making next-generation products. I'm super motivated by how we can help them do their work with our materials. I also love research, so I'm always excited to hear what the team has been up to and what breakthroughs we've made on a Monday morning."

"I think I would spend one hour walking around somewhere nice, one hour at a nice symphony or jazz show, one hour cooking and eating something nice, and the rest of the day I would spend in a lab with exciting tools and materials to use for developing new things."

"Graphic with a photo of Madison Maxey leaning over a work table with a quote superimposed of what she would tell her 14 year old self about manufacturing: "Pair engineering with design from the start. With these two skills, you can make just about anything you want."

"I used to spend a lot of time making things when I was younger, and I think this has helped. From 3D printing to sewing, the hands-on work helps me imagine how physical items come together."

"To be honest, the work we do has a very small impact on the world right now. We make components, so we help products be a little easier to make or work a little better. It's a small impact, but it's exciting for us and for our customers."

"We’ve been at it for a while. I would say it’s the engineering challenge of our generation. That is what’s taking it so long. To do it, and do it well, I think means two things. One, that safety is at the core of everything we do. And safety takes time. And secondly, we actually have to learn along the way. It’s like a process of discovery."

"What’s funny to me is when I think back to when I joined Waymo almost five years ago. And I remember thinking, “Oh, product market fit’s probably done. It’s ready to commercialize.” And I realize, no, you actually have to put the technology into the real world and that’s how you get it ready. That’s what we’ve been focused on doing, and learning, and receiving feedback from, now, riders in Phoenix."

"It’s something that I’ve had to relearn in my time at Waymo. I like using data to make decisions. And I think when you’re introducing a new technology, introducing a new business model, introducing consumers to an experience that’s never existed before, it’s really about getting comfortable knowing when you have enough data and also getting comfortable with your own gut. And so I say one of the things at Waymo that people get out of it is this reinforced sense of your own internal guide. That’s what I use a lot now because it’s pioneering. There isn’t a playbook. No one’s done it before. We’re figuring it out as we go along. It requires a lot of humility and a lot of openness around learning. And so I learn, I listen, I make a decision. If it’s not the right decision we pivot, and we keep going. And so really having the mindset that this is a learning journey."

"In a 50-square-mile territory, which is also the size of San Francisco, so I’m not going to concede that it’s tiny. Yes, it is a specific jurisdiction that we’re working in, but that’s the way to do it safely. Also, we have launched a trusted tester program in San Francisco. So now residents of San Francisco are having the chance to try out our service too."

"I think that’s one of the ways in which this is quite different. It’s not a one-and-done, and it’s also not, get the technology up to a certain point and now we’re ready to deploy it everywhere. Geographically, street lights are different, weather is different, there’s a lot about each domain that’s quite different. What you’ll see us do, and what you’ve seen us do now that we’re operating in two fairly different environments, that gives our tech stack the opportunity to learn. We’ve driven over 20 million miles on public roads, autonomously, across 25 cities. Over 20 billion miles in simulation, which is quite important. And so this is the way the Waymo Driver learns and all of that learning is shared across the fleet."

"I completely stand by what I said to the election worker that I was simply a crisis manager."

"I believe that the charges that were filed on me are for a lack of better words baloney."

"loose end for a party that needs to tidy up."

"Working with Ye and Mr. Kelly truly made me understand the amount of false accusations that can be given to strong people such as Trump. I am no politician and have no interest in being one. I would like to quote Ye, one of my favorite people I have worked with: ‘The media is trying to crucify me like I’m Christ.’”"

"“I enjoy it. You have to like what you do, no matter what it is, to make a success of it.”"

"Sometimes I surprise myself. I may not know exactly what I’m going to do when I start out, but ideas come as I go along.”"

"It would take you forever to bead the laces to go on it.”."

"I have bleached the lace and it came out. I hope I understood you to say it would be alright to take it apart in motifs for that is the only way it would look alright with the other lace. I have trimmed the other lace and it has been beaded. Will be calling your daughter shortly of a fitting."

"All the dollars that are flowing into the business aren’t flowing into the players That’s what we’re talking about when we say a new economic model. We need to see the dollars flowing into the players."

"everything is on the table for that conversation"

"“I always say that if you’re in a boardroom or a meeting and you’re the only girl at the table, celebrate that moment; but then realize that you have a responsibility to make sure that never happens again,"

"I begged and pleaded for the league not to fine them. It was a pretty intense conversation. And they still fined the players anyway"

"Our players understand now that they are more than basketball and I am so proud of them and that they recognize that they have the opportunity to use this time to speak about issues that matter to them"

"“No matter our jobs, we are more than just that and have the opportunity to use our voices for positive change"

"I was always passionate about learning, curiosity, and science, but once I realized I could contribute to space exploration, I knew it was a perfect fit."

"find your passion—the thing that makes you excited to wake up in the morning and bring your best self to work. Once you find that, it doesn’t feel like work."

"It’s about everybody having an opportunity, everybody having the access and ability to follow their dreams."

"I am of course excited to be included among the group and look forward to whoever the first woman is and the women who follow as part of the Artemis program to continue our studies of the moon, continue to descend down to the surface in a lander and hopefully to build a lunar base there on the moon and continue our journey from the Gateway orbiting laboratory."

"I was very fortunate to have been able to study engineering and to find my way to NASA, to join the NASA astronaut class of 1996."

"When you have documentaries about the Trail of Tears, you don’t see these Black people carrying all the loads."

"You don’t hear about these Black people, how many of them died. How many of the Black babies that died because there wasn’t any milk for them, after their mother had nursed the other babies."

"I say that Freedmen descendants must continue to use all legal avenues to pull down the barriers of racism, apartheid and second-class tribal membership."

"“I have read in the newspapers that I have been [blackmailed], and I am frank to say that there must be some truth in a story which is given so much in detail.”"

"“I have no fear. I have done no wrong, and every one of the poor people I have helped is praying for me in the time of my affliction.”"

"“I have all my life made white people my friends and never had much to do with my own race.”"

"My success is not possible without chancellors, presidents and leaders I’ve learned from, and each institution’s commitment to scholarship, innovation, academic excellence, community engagement and providing opportunities for all—which is exactly what inspired me to seek out this opportunity to lead Rutgers-Newark."

"Inspired by my parents’ belief in education as a pathway to liberation, meaning and purpose, I’ve dedicated my life to helping others obtain college degrees and upward mobility."

"To see the dedication and commitment to excellence, it exceeded my already high expectations."

"I always believed that if you just like laid down the facts, provided the evidence, that people would go along with what was best for humanity. And that has not been the case during this pandemic. That has killed me."

"An aerosol is a stable suspension of solid or liquid particles in the air. They come out of someone’s mouth, or they come out of a smokestack, or they come out of the tailpipe, and you watch them, they don’t fall to the ground. They float and waft off into the sky."

"Maybe fashion was sleeping in me and suddenly it woke up."

"I was growing up, my great interest was my horses, tennis and that’s it, and dogs and normal life, not about fashion."

"The first thing I ever designed was a black dress, for myself, when I was 14 or 15."

"I wanted to be a vamp since I started watching movies from the 1930s and ’40s with Marlene Dietrich and Greta Garbo, where they wore veils and hats and carried cigarette holders."

"My parents never allowed me to wear the dress after I made it."

"It’s important to have love in one’s life, because it makes us more human and, incidentally, more beautiful."

"You don’t have to be afraid of getting older."

"Fear is the most disgusting thing."

"I think I was madly in love with Reinaldo when I was 15 or 16, but then he went to Europe."

"He has always been my great love."

"It’s not simply that you are going to create a collection and you lock yourself in a black room and wait until the muses come down."

"It doesn’t work that way."

"You have to be designing for the women of today."

"Everything is an inspiration."

"A conversation is an inspiration colors, anything if you have your eyes open."

"I stand for glamour and consistency"

"I'm a seamstress, not a manicurist."

"It has been so good because it has been 35 years that I am doing something that I love."

"If you do something for so long, it's really great in your life, right."

"It's been such a journey, sometimes a very happy one, and sometimes a very difficult one."

"Fashion is not easy."

"You have to change your eye to look for beauty all the time."

"I say all the time is, "I'm not in the fashion business."

"I'm in the beauty business."

"In fashion, you have to have perseverance."

"You have to do it again and again, but it's something that comes out of my heart, and I love it."

"When I saw a colored woman doing all the work in cases of accouchement, and all the fee going to a white doctor who merely looked on, I asked myself, should I not get the fee myself?"

"I have no money and no source from which to get it, only as I work for every dollar. Do you know any way that might be provided for an emancipated slave to receive any help into this lofty profession? If you cannot do otherwise, then give me a chance, a fair chance."

"I went to Philadelphia, studied medicine hard, procured my degree, and have come back to Atlanta where I have lived all my life, to practice my profession. Some of the best white doctors in the city have welcomed me and say that they will give me an even chance in the profession. That is all I ask."

"“I was raised to remember that I come from those who survived.”"

"“From both sides of my family, [there is] a very heavy emphasis on the importance of education, which is something that has really been the key to my ability to do what I’ve done … To take my education seriously, and to be able to go to college and beyond that has absolutely been foundational to my success.”"

"“On both sides of my family, governments, other entities, really sought to wipe us out … My father really instilled in me the importance of recognizing that I came from people who persisted, people who were lucky enough to survive, and that my existence is dependent upon those people’s persistence and resilience.”"

"“I believe my role is to listen carefully, with neutrality and fairness, and to apply the law regardless of my personal, subjective beliefs.”"

"In every forum and nearly every case, children are impacted. They are impacted when their parents cannot parent due to drug and alcohol issues landing them in court, they are impacted when their needs were not met as children and they become involved in the juvenile justice system."

"It is, however, enormously difficult to provide court and social services to these children and families when funding is minimal at best or non-existent at worst."

"Despite the efforts of many tribal judges and the good intentions of state courts, we find ourselves continually justifYing our existence and our skill sets."

"I know that and can address those issues in a systematic way, recognizing that these families are complex systems and that the parents come to the court not solely borne out oftheir own difficulties and bad choices, but also out ofthe pattern of abuse and neglect that has been part oftheir family for generations."

"There is no doubt in my mind and in my experience that the therapeutic approach benefits the individual, and therefore the community, far more."

"All children deserve stability and most agree that a child in foster care lacks stability."

"No one wants to see a child stay in foster care one minute longer than is absolutely necessary to ensure her safety."

"Every day there is something that makes me reflect that this is a historical appointment that is meaningful to other people."

"I don't know that there's ever been a drum group or those sounds in that building. But there are now, and I wanted to make a public statement that we're here — and that I belong there."

"I became really interested in how the law functions as this underpinning of our society and codifies the ways we interact with each other in ways that we don't even really think about."

"My view has been since the moment I decided to apply for this position, I'm going to be who I am."

"If Gov. [Jay] Inslee or the public doesn't embrace that, that's OK, but I can't pretend to be someone other than who I am."

"I've had people say, ‘You don't look like a judge,’ and they've said that in lots of different ways. [But] I do look like a Supreme Court justice, because I am one."

"It really has been only recently that I've seen the judiciary recognize that and want to take a leadership role in that area. That's absolutely something that I think is a critical part of what a supreme court does and should be doing — in terms of talking about [this problem] and acknowledging that it exists, but also being a problem solver."

"Every single family in my years of tribal court work had a story to tell about that."

"I know what that intergenerational trauma looks like and what the consequences are. If I have the ability in this position to give a voice to that story, I'm going to take it."

"The assumption has been, throughout my entire career, that because I am not white that I am not fair or I am not neutral."

"I’m not afforded the presumption of neutrality or objectivity that my colleagues are — I have to prove that I am neutral or objective."

"It's part of my obligation that I do whatever possible in this position to encourage other people who are otherwise underrepresented — whether that's communities of color, first-generation college students, people from poor communities — to picture themselves in roles that have otherwise been closed to them."

"I'm not in this because I want to be in the history books as someone who was the first. That matters, and it matters to a lot of people. But what really matters to me is that I not be the last."

"I am interested in making smart systems that help people and machines function better,"

"My application areas cover a wide range of domain areas, but often in earth and space science informatics and health informatics."

"Two people within the last month have brought their idols and desired to be known as believers in the God of gods,” she wrote on October 10, 1887. “I shall keep them to show to friends in America as the first trophies of my Congo work.”"

"He drew me unto Himself, and after passing through the shadow of doubts, I entered into the blessed light of His love“"

"I was truly happy then, and since I have set sail for the benighted country, I am happier,” she wrote. “When I reach the doleful shores, I shall be happiest. What comfort comes to us from doing the perfect will of God concerning us!”"

"We have a mission house two miles away, where I work mornings in the capacity of preacher, teacher, and doctor,” she wrote. “I hope to be allowed two years home to study medicine, to better help these suffering people."

"As I’ve grown in my career, I’ve begun to understand just how blessed I was to be afforded the opportunity to attend college and pursue my dreams."

"As I was fortunate, it is my responsibility to reach back and help others, especially those most under-resourced."

"You know, everyone has different reasons for why they believe in something, so I try to be relatively tolerant. But in terms of going down the rabbit hole of social media on that topic, I kind of let my comms team manage that. I really try not to engage with those folks."

"We’ve got to be aware, we’ve got to educate ourselves, and we’ve got to let go of the stigma and the shame that adults feel about mental health that we then impose on our young adults so that they begin to feel bad about any challenge to their psychological well-being."

"We need to get to a place where we can say, “It’s ok when you’re not ok.""

"We’re going to focus on the children we believe can be diverted from the system, either through a referral from law enforcement at the point of contact in the community, a referral from a school resource officer, a self-referral from a family member or a community organization that works with children who recognize some of the signs of at-risk behavior in that child,"

"Our basic job is to protect the hope of others,” she says. “We have to be hopeful they will get better or they won’t be."

"We now understand more clearly that these are not just “bad kids.” Most enter the system for reasons other than the delinquent act with which they are charged."

"I was working in Hollywood with the goal of being a producer. A friend of mine was producing a movie called Deadly Friend, and told me that Wes Craven was directing and needed an assistant. He asked if I would be interested in the job. I said, of course, I would love to come in and meet Wes. So, we set the appointment, and I went to Warner Brothers to meet him. He was very funny, and we clicked. The wonderful thing was that having said that I wanted to be a producer, Wes took it upon himself to include me in every aspect of filmmaking. He took me into casting sessions, to the horror of Marion Dougherty, the casting director, who was a huge casting director at the time. Assistants didn't normally get to be in the room for casting sessions. I was included at the scoring sessions, locations scouts, and he mentored me through the whole movie. We did Deadly Friend and then went on to The Serpent and the Rainbow. While filming on location in Haiti, we had so many emergencies and horrible production problems, and we got through them well together, and I think Wes just felt I had the right stuff. Then he gave me my first producing gig on Shocker."

"It was just natural. It wasn't even a discussion. He was attracted to telling stories from a female POV, I think because of me and his daughter, he was very interested in stories about strong powerful women getting through difficult situations."

"Absolutely, I mean, don't forget we had just done New Nightmare, and that was very much about Heather Langenkamp's personal journey, and it very much mirrored her personal life. She obviously was, and is, a very strong woman, and with Kevin's script, it was everything we wanted. We loved the story of Sidney, and it had every element that we were attracted to in general."

"We were working with KNB Effects Group on the mask design in LA before we flew up to Santa Rosa to prep and shoot. As the script described the killer as only wearing a ‘ghost mask' with no description of the mask or costume, we had to come up with it. KNB had a lot of design sketches and sculptures, but we had not found the look, and it was getting late. We were scouting a house for Tatum, and I went up to this little bedroom upstairs, and I saw the mask. It was the mask, but it had a white shroud. I took it, and I ran downstairs and showed it to, I think, Bruce Miller, the production designer, Wes, and probably Nick Mastandrea, our first AD. I said ‘oh my god, you guys, look at this mask! How about this?', and they said, no, we don't like it. We don't like this mask – We want to create our own mask'. Wes was very much into owning it and creating whatever we were going to use, so I just felt like, ‘seriously, you don't like this?' ‘You're not even going to consider it?' And he said, ‘no, no, no, not at all.' I don't like it.' So, I begrudgingly put it back in the bedroom."

"A couple of weeks went by, and we still couldn't come up with anything everyone could agree on, and we were getting very close to shooting – it was getting very tense. So I said, ‘why don't we call that lady and see if she's thrown away the mask or still has it and at least see it again?' I thought, who knows, maybe she cleaned the house and threw it away! Bruce Miller sent the location manager over there, and sure enough, he came back with it and I got Wes to take another look at it, and he said, ‘let's go with it,' and we finally made a decision! Of course, we had to call and get the rights from Fun World. It was a mass-produced Halloween mask, and the rights cost some money. Cary Granant negotiated the deal with Fun World, and we got the rights. Even at this point Wes still really wanted to make his own version so he said ‘okay I like it, but I want to change the shape just a bit', so we did and KNB did make their own sculpture of it with a few alterations. We started shooting the opening sequence with it and realized very quickly that the original mask was perfect so then we went back to the original mask."

"Yes, he did, and originally the larger windows didn't have the stained glass, but he found a few doors in the house that had small panes of stained glass above them, I think, and decided to bring and expand that element to add more character to the interior and exterior scenes of the house."

"Yes, he was very much involved, and in fact, we had actually been developing The Haunting with Richard and Bob Weinstein, and I don't really know what happened with that… I think Wes finally just passed on it and said to Richard, ‘look, I really want to work with you, but I don't think The Haunting is the one.' So, of course, Richard then kept Wes in mind, and when Scream came along, we all still wanted to work together, and eventually, Wes accepted the job. But, yes, Richard was a huge part of it creatively and really pushed Bob Weinstein to option the script and lit his hair on fire to get everyone to read it very quickly at Dimension. Sometimes you have a studio executive that you don't want anything to do with and don't want to have them on set, but we loved Richard, and he was so helpful and respectful to Wes and had such good ideas. We were lucky to have him with us."

"Wes was very prepared. He always came up with a shot list and was very meticulous. Wes, in his own life, loved to write manuals for everything in his house. So he was very mechanical in this way, and he made really great shot lists. I mean, when you're working fifty, sixty days straight, you don't always have time, and of course, if the director comes in without a shot list, the AD, the cinematographer, the line producer, and everybody else freaks out. But he usually came prepared with his shot list, and of course, we'd look at it and freak out if it was more than about twenty-three shots. It could, at times, be a little too ambitious."

"As far as directing actors, he was very respectful, quiet, and never impatient. Actors really responded to Wes. He really was an actor's director. I remember when he was directing Drew in the opening sequence, they had spent a lot of time in prep, and Wes knew how much Drew loved animals, as she's an advocate for animal safety. He said something really graphic and terrifying to her about, I'm sure you've heard this, an article about a puppy who was mistreated because he had seen what an emotional response this caused her, just talking about it, and that was one part of how he got the performance out of Drew. I remember that night, shooting the exteriors of that home, and I remember the night he did that. I didn't know at the time what he had said until an hour later. It really worked! Obviously, we know that scene is so heart-wrenching, so he knew what to say. He really got to know the actors and figured out how to get the right performances. It can be a manipulative job, being a director, and he would figure it out."

"My key to success is endurance. My day is like a marathon. I spend tons of time going from restaurants to meetings with the beverage directors, customers or distributors. I think we have had success because we have spent tons of time with excellent partners in the market, building relationships one by one. It really sells the product in each venue. It is not the most scalable business because it's essential that you have a personal connection with each person and that they buy into the story, that they understand and want to get behind you. After all, without the people who matter in each venue, a brand can't succeed."

"My 15-year career in finance gave me unique skills: looking at cash flow, balance sheet, inventory, and understanding as an operator. I would argue that cash flow is the most critical thing for staying in business and for all entrepreneurs. Having invested 15 years as a CEO and in companies, I have this unique perspective. I probably understand financials better because of my background. We are much more careful with money because I personally sign every single check for everything we do. We have to be scrappy as I don't have the company pocketbook like some of these conglomerates that can waste money on things and see how it works. We have to be incredibly thoughtful and extremely methodical about everything we do. We don't have any benefit when we make mistakes."

"I Chinasa T. Okolo is the Founder of Technēculturǎ and a former Fellow at Brookings. She recently graduated with a Ph.D. from the Department of Computer Science at Cornell University, where her research leveraged ethnographic methods to understand how frontline healthcare workers in rural India perceive and value AI and analyzed how AI explainability can meet the needs of novice technology users in the Global Majority. Her work has been published at top-tier venues in HCI and sociotechnical computing, including the Association for Computing Machinery’s (ACM) CHI, CSCW, COMPASS, EAAMO, and FAccT conferences. Dr. Okolo has also been recognized as one of the world’s most influential people in AI by TIME Magazine, honored in the inaugural Forbes 30 Under 30 AI list, named one of the Most Influential Africans of 2024 by New African Magazine, a Trailblazer in Engineering, and one of 100 Brilliant Women in AI Ethics™."

"I initially transitioned into AI because I saw how computational techniques could advance biomedical research and democratise access to healthcare for marginalised communities. During my last year of undergrad (at Pomona College), I began research with a human-computer interaction professor, which exposed me to the challenges of bias within AI.”"

"I’m optimistic that AI could help fuel socioeconomic development that has been much needed in Africa for the last half-century, But I’m also concerned that this competition could limit the autonomy of African countries and perpetuate neo-colonial practices that have negatively impacted their economies.”"

"Receiving this recognition a year after earning my PhD and a year into my professional career is considerable motivation for me to continue my research and advocacy.”"

"A significant number of AI tools and systems that have been put into public deployment overstate their capabilities and simply don’t work. Many tasks people aim to use AI for could likely be solved through simpler algorithms or basic automation."

"However, enabling people with the knowledge to understand the limitations of AI may help improve the responsible adoption and usage of these tools. Improving AI and data literacy within the general public will become fundamental as AI tools rapidly become integrated into society.”"

"Teen "addiction" to social media is a new extension of typical human engagement. Their use of social media as their primary site of sociality is most often a byproduct of cultural dynamics that have nothing to do with technology, including parental restrictions and highly scheduled lives. Teens turn to, and are obsessed with whichever environment allows them to connect to friends. most teens aren't addicted to social media; if anything, they're addicted to each other."

"In 1995, psychiatrist Ivan Goldberg coined the term internet addiction disorder. He wrote a satirical essay about “people abandoning their family obligations to sit gazing into their computer monitor as they surfed the Internet.” Intending to parody society’s obsession with pathologizing everyday behaviors, he inadvertently advanced the idea. Goldberg responded critically when academics began discussing internet addiction as a legitimate disorder: “I don’t think Internet addiction disorder exists any more than tennis addictive disorder, bingo addictive disorder, and TV addictive disorder exist. People can overdo anything. To call it a disorder is an error."

"The things that make us safest from others make us least from ourselves."

"Listening to teens talk about social media addiction reveals an interest not in features of their computers, smartphones, or even particular social media sites but in each other."

"Just because teens can and do manipulate social media to attract attention and increase visibility does not mean that they are equally experienced at doing so or that they automatically have the skills to navigate what unfolds. It simply means that teens are generally more comfortable with—and tend to be less skeptical of—social media than adults. They don’t try to analyze how things are different because of technology; they simply try to relate to a public world in which technology is a given."

"Privacy is not a static construct. It is not an inherent property of any particular information or setting. It is a process by which people seek to have control over a social situation by managing impressions, information flows, and context."

"In a world where information is easily available, strong personal networks and access to helpful people often matter more than access to the information itself."

"A central challenge in addressing the sexual victimization of children is that the public is not comfortable facing the harrowing reality that strangers are unlikely perpetrators. Most acts of sexual violence against children occur in their own homes by people that those children trust.27"

"For the teens that I interviewed, privacy isn’t necessarily something that they have; rather it is something they are actively and continuously trying to achieve in spite of structural or social barriers that make it difficult to do so. Achieving privacy requires more than simply having the levers to control information, access, or visibility. Instead, achieving privacy requires the ability to control the social situation by navigating complex contextual cues, technical affordances, and social dynamics. Achieving privacy is an ongoing process because social situations are never static."

"When people become famous, they are often objectified, discussed, and ridiculed with little consideration for who they are as people. Fans and critics feel as though they have the right to comment on everything celebrities do with little regard to the costs that those in the crosshairs of attention will bear. The cost that celebrities pay for the supposed benefits of being rich and famous is ongoing scrutiny and a lack of privacy. Most people do not understand or appreciate the pressure that results from fame, even though public meltdowns—such as the night that Britney Spears shaved her head in front of numerous photographers—are highly publicized. The public’s obsession with obtaining information about the famous puts serious pressure on those people’s lives, as the paparazzi’s role in Princess Diana’s death so brutally reminds us.20 Few people have sympathy for the kinds of stress that gossip places on public figures who have high status and wealth. At a distance, famous people seem invulnerable"

"A great deal of the fear and anxiety that surrounds young people’s use of social media stems from misunderstanding or dashed hopes.14 More often than not, what emerges out of people’s confusion takes the form of utopian and dystopian rhetoric."

"More often than not, what people put up online using social media is widely accessible because most systems are designed such that sharing with broader or more public audiences is the default. Many popular systems require users to take active steps to limit the visibility of any particular piece of shared content. This is quite different from physical spaces, where people must make a concerted effort to make content visible to sizable audiences.8 In networked publics, interactions are often public by default, private through effort"

"When adults jump to fear and isolationism as their solution to managing risk, they often undermine their credibility and erode teens’ trust in the information that adults offer."

"the introduction of social media does alter the landscape. It enables youth to create a cool space without physically transporting themselves anywhere. And because of a variety of social and cultural factors, social media has become an important public space where teens can gather and socialize broadly with peers in an informal way. Teens are looking for a place of their own to make sense of the world beyond their bedrooms"

"It’s easy to think of privacy and publicity as opposing concepts, and a lot of technology is built on the assumption that you have to choose to be private or public. Yet in practice, both privacy and publicity are blurred. Rather than eschewing privacy when they encounter public spaces, many teens are looking for new ways to achieve privacy within networked publics. As such, when teens develop innovative strategies to achieve privacy, they often reclaim power by doing so. Privacy doesn’t just depend on agency; being able to achieve privacy is an expression of agency"

"Every step in my career has served a purpose. Of course, each step provided me with a particular level of training. But the steps also bought me time to figure out what I like and what I don’t like professionally and personally. If I had to end with some advice, I would say: Take each of these steps seriously and not to rush ahead to the next one."

"When you don't feel valued, you feel like sh*t. When you feel like sh*t, you don't do good math."

"I grew up not having any clue what a Mathematician was… so I looked up and wrote to random Math Professors. It sounds silly, but this actually helped shape my career path. Doing math for a living is a sweet gig, and I am deeply grateful to be a part of the mathematics community."

"Why, I've been lucky all my life. I was even lucky in having typhoid fever. I thought It was most dreadful that I should fall ill and have to give up a leading part... but when a week or two after its New York premiere the piece was sent to the storehouse, I just turned over and thanked my lucky stars that I was saved from all the disappointments that go with such an experience."

"I mean, equity is what it’s about in business. For them to be able to have equity at this young of age, I think that that’s power.”"

"I grew up with two older brothers who excelled at every single thing. And so, their shadows were very large and daunting at times."

"You're gonna live longer than the ball is bouncing, God willing, and so there's a whole lot of life after basketball. So you kinda have to learn how to be a good human and, I can't think of a better person than coach Summitt that modeled that."

"The pace, spacing, physicality, and overall athleticism have all taken major leaps, making the women’s game faster, deeper, and more dynamic than ever."

"Nothing is easy. It is not easy to have a baby, for a tree to grow—but that’s what is beautiful."

"I don't know what is important and what is unimportant, so I call it all immensely important."

"Nothing is easy. It is not easy to have a baby, for a tree to grow--but that's what is beautiful. That is part of the beauty. To wish for a life of ease is ridiculous. When I think about how I really do feel it overcomes me. Then I wonder if I've done enough"

"My Friends Write to Me from America that Joseph Wright (my Son) "has Painted a Likeness and also moddel’d a Clay Bust of General Washington which will be a very great honour to My Famaly.""

"I most heartly thank my god for Sparing My life to See this hapy day."

"I joyne with all My friends in the pleasing prospect that Posterity will See, and behold the Statue of the man who was apointed by his Contry, and the voice of the Enlightend Part of Mankind to be the great general to Save the Liberties of the Christian Religion and Stop the Pride and Insolence of old England. and by his truly great and Noble Example in all human Vertues he has Restord Peace on Earth, good Will toward mankind."

"Truly hapy are You Sir, to have the greatful thanks of all Europe—with the Prayir of the Widows and the Fatherless—You have my most greatful thanks for your Kind atention to my Son in taking him in to your Famaly to encourage his genii and giving him the pleasing opertunity of taking a Likeness that has I Sincerly hope, gave his Contry and your Friends Sir, Satisfaction."

"I am Impatient to have a Copy of what he has done that I may have the honour of making a model from it in Wax Work—it has been for some time the Wish and desire of my heart to moddel a Likeness of generel Washington, then I shall think my Self ariv’d at the End of all my Earthly honours and Return in Peace to Enjoy my Native Country. I am Sir with gratitude an Respect Your very humble Servnt"

"I was an artist with many social connections, and – don’t tell! – I may have been a spy. I was born on Long Island, New York in 1725, but by the time I was four I was living in Bordentown, New Jersey. My father was a devout Quaker, and I was passionate about art, especially sculpting, so when I was twenty-one I moved to Philadelphia, the center of American art. I married a fellow Quaker, Joseph Wright, and we moved back to Bordentown, before he unexpectedly died in 1769. But I didn’t give up my art dreams, and along with my sister Rachel, who was also a widow, we started a business making wax sculptures, and soon we had salons in Philadelphia and New York City. I met Benjamin Franklin, and he convinced me to move to London and introduced me to important people who wanted to be sculpted. Things were bad between Britain and its colonies, and I supported the efforts of Prime Minister William Pitt who was trying to reconcile everyone. But at the same time, while my many subjects – including the King himself – were posing, we’d talk openly and honestly about what was going on. If any valuable military or political news came my way, I’d write it in a letter to the Continental Congress, which I would then smuggle out in my wax statues. I also tried to help American prisoners of war who were jailed in England. And at the same time, I also tried to compensate Loyalists for their losses. I wanted to get back to New Jersey, but I died in London in 1786. Nobody knows where I am buried."

"Sometimes, someone in Venice will ask me, "What is it like in Des Moines?", and sometimes, someone in Des Moines asks, "What is it like to live in Venice?" I respond with the same answer - You can't imagine. It is another world."

"I have been a resident of Venice since 2004. For the past five years I have arranged my schedule so that I spend a full six months a year in Venice and a bit under six months in Des Moines. Approximately every two months, I go from one home and existence to the other. Sometimes I feel that I am living two completely different lives, but they are connected, and I love both of them."

"I began coming to Venice regularly in 1989, when Matilde Dolcetti, director of the Scuola Internazionale di Grafica di Venezia (SIGV), a school of printmaking and graphic design, invited me to come to the school as a visiting artist. In subsequent years, I taught classes in burin engraving, drawing, and the history of prints there. My involvement with the SIGV connected me with the printmakers, book printers and bookbinders of Venice. Those artists became my core group of friends in Venice, and the SIGV has long been my base and point of reference."

"We live near Campo San Giacomo de l'Orio, in the sestiere of Santa Croce. Our palazzo is visible in Jacopo de' Barbari's 1500 bird's eye view of Venice. In the Campo, during the day the elderly sit on the benches under the trees, the retired men stand and chat, and friends meet to drink coffee, wine, and spritz at the cafés. In the afternoon, babies toddle, kids rollerblade and kick soccer balls, and parents chat. On Wednesday evenings, I often attend Incontri, a weekly gathering for artists only, organized by the painter Maria Morganti. We meet at the Fondazione Bevilacqua LaMasa on Rio San Barnaba. Artists present talks on their work to other artists."

"We have a boat, and my husband has become really good at rowing, Venetian-style. He goes out rowing almost every evening through the year, even around midnight. He rows through the canals late at night because there is almost no one else out at that hour. It is very dark on the inner canals, but it is an amazing thing to see Venice this way. Sometimes I go along as a passenger. I often take a notebook and draw while we go through the canals. The drawings have to be really fast since we are constantly moving. He is willing to stop and tie up every once in a while so I can make a drawing from a fixed spot."

"I draw almost every day in drawing books made by a Venetian bookbinder, Renato Polliero, using an old pump fountain pen that I can fill with my own waterproof India ink. I love the flexibility of the point of a good old writing pen. For most of my life, I made drawings for completely private purposes and rarely showed or published them. They served only to generate ideas for my engravings. Since I started my drawing blog in 2006, I now draw also in order to share my images anonymously with the world on the Internet."

"In Venice, I work on my engravings on a big old oak kitchen table I bought for this purpose. The table has a very large drawer, a pullout board for rolling out pasta, and still has its pull out, meter-long rolling pin. For plate prep and proofing, I use the facilities at the Scuola di Grafica."

"My laptop computer is on a desk between my engraving table and the terrace door. There is a seven-hour time difference between Venice and Des Moines. Around 4 PM, as my colleagues are arriving at the Des Moines Art Center where it is 9 AM, I log in remotely to the museum's server. From Venice, I can literally work on the computer and printer on my desk in my office in Des Moines. Email is the same whether sent from the office next door or 6000 miles away. Work keeps going in Des Moines until around 5 PM, or midnight in Venice."

"In Des Moines, we live on a quiet street in a beautiful old wooded neighborhood. Our house is surrounded by a large yard with three century-old oak trees, bushes, and perennials. I have my own study with all my print history books. My printmaking studio is in the basement of our house. I have a 36 x 60" American French Tool etching press. From 1970, when we moved to Des Moines after graduate school, until 1997 I worked primarily as an artist and a teacher of printmaking, design, and art history. In 1974, I began to curate exhibitions on the history of prints for the DMAC, then was invited to do projects for other museums. In 1997, after I had been doing guest curatorial projects for 20 years, the DMAC finally created my part-time position as curator of prints (now prints and drawings). My responsibilities at the museum include organizing three or four exhibitions a year on prints and drawings, writing gallery guides and labels, gallery talks, doing research on works in the permanent collection, recommending acquisitions, advising on conservation, working as part of the curatorial team, cultivating collectors and donors, etc. We don't have a public print room, so there is no public access to the collection. I am staff liaison for the Des Moines Art Center Print Club, a very active group of print collectors, artists, and people interested in prints. They organize monthly programs, commission prints, and purchase works for the collection."

"My arrangement with the museum is that my schedule is mine to figure out. There are times when I have to be present in Des Moines, such as a month or so before the installation of a new exhibition. When I am in Des Moines I work very intensely, plan, and do much in advance to enable myself to be away for my regular two-month absences."

"I draw more frequently when I travel (and especially, when I am in Venice), than when I am in Des Moines. Besides an infinite number of drawings made in Italy, I have major bodies of work from time I have spent in Japan, France, Russia, Turkey (Istanbul), India and England. I have some drawings from my travels around the US too. I also make drawings while killing time in trains, planes, and airports."

"Since I am usually doing research on some aspect of the history of prints, I try to make appointments to visit the print rooms of museums in cities that I happen to visit. When we lived in London on a sabbatical in 1986-87, I enrolled in a year-long class to study lettering engraving at Sir John Cass College, City of London Polytechnic, a college that trained young engravers to pass the Guild exams and become certified engravers. I did this because I knew how to engrave pictorially, but had no sense of how to engrave words or inscriptions so I could print them. As an art historian, I had become curious about the extraordinary calligraphic inscription on an engraving of a Vanitas personification by the Dutch Mannerist engraver, Jan Saenredam. A curator friend at the British Museum suggested that I look at the British Library's collection of engraved calligraphy writing manuals from the 16th and 17th century. After years of research on what became an utterly absorbing topic for me, I ended up writing a long article about this subject (“Calligraphic Inscriptions in Dutch Mannerist Prints,” in Goltzius Studies: Nederlands Kunsthistorisch Jaarboek, 1993). In addition to my art historical discoveries on this topic, I was able to incorporate the technical experience I had gained by studying lettering engraving."

"Here is a recent example of how curatorial travel influences my work as an artist: On January 21, the day after Barack Obama's inauguration, I flew to Washington DC on a courier trip. Walking up the hill past the US Capitol, I saw that it was still completely set up for the inauguration, but the two million people had all gone home. It was amazing to stand in that place on the day after the inauguration. After I did my research at the Library of Congress, I walked back down the hill, stood in front of the Capitol, and drew the scene. (To see the drawing, please click here.) The next day at 7 AM, I boarded an art shipper's truck at the National Gallery of Art and accompanied several paintings on a 19-hour ride back across the US to Des Moines."

"The delight I take in crossing barriers and mixing things up may date from my experiences as a child. I grew up in The Bronx where I attended elementary and junior high school with many kids whose parents were WWII refugees. Many of my friends did not speak English at home. During the summers of 1959 and 1960, when I was 12 and 13, my father, a NYC school principal and science educator, taught National Science Foundation summer institutes for black science teachers at Virginia State College in Petersburg, VA. This was still the era of segregation, and we spent those two summers as the only white family living on the black college campus. As a teenager attending the High School of Music and Art, I absorbed the cultural richness, variety, and excitement of the city."

"The Afro-Cuban group from the Santa Marta neighborhood (at the far, far end of Dorsoduro) is great fun. The idea of this nutty group of Rasta-haired Venetian guys singing topical songs in Venetian really appeals to me. I understand Venetian dialect and I follow the local issues that Venetians are concerned about. Santa Marta is probably the Bronx of Venice. Not the most elegant part of Venice but a great place to grow up."

"The Oxford Project was a great thing to become involved in. It was created by two University of Iowa professors, Peter Feldstein and Steven G. Bloom. Peter started photographing everyone in Oxford, Iowa in 1984 in part as Conceptual Art and for sociological reasons, but also it was Peter's attempt to be accepted by the residents of this tiny Iowa town that he had moved to. He started rephotographing the same people 21 years later, in 2005, and Steve Bloom interviewed the portrait subjects. Feldstein and Bloom proposed The Oxford Project as an exhibition to the Des Moines Art Center. I was basically assigned the job of evaluating whether it was worth doing at our museum. I was intrigued and organized a selection of the works for an exhibition in 2007. The public response was incredible. The exhibition was also shown in Padova, Italy, where it was very well received. Italian viewers understood that these amazing stories were not just American, they were universal."

"For over 600 years, artists have been drawing Venice. It is the most-drawn and painted city in the world. How can anyone find something new and fresh to say? All I could do was to draw the reality of my own existence there. I drew what I wanted to understand, or where I wanted to explore or spend time. By just remaining in a place and drawing, you see so much more. You experience the life of the place, you become part of it. Because of my constantly drawing in Venice and keeping notebooks, I feel that I understand what Canaletto was doing and experiencing with his drawings."

"Last March, I stood on the loggia of San Marco, by the reproduction horses, and made a drawing I'd been thinking about doing for a while--the entire sweep of Piazza San Marco from above. It was cold, but I stood still for two hours and became completely immersed in the making of the drawing. It is a wonderful thing to experience ... a total absorption ... and a strange sense of power that I can do this."

"Very much so. Being a curator and an artist is bad in one way. In deciding to work as a curator, I sacrificed my public persona as an artist. There are many conflict of interest issues that can arise. Although my museum has many of my prints in its permanent collection (these were acquired before I became a curatorial staff member), I certainly can't ever include my own work in an exhibition. Also, I feel extremely reluctant to try to promote my work to curatorial colleagues in other museums. That is really up to the gallery that represents my work. (I do have prints in numerous museum collections, but probably could have had a lot more). A museum would like to organize a retrospective of my work, but here again, I barely have time to prepare for it. Being a curator means no longer having all day to work in the studio. Sometimes, I come home and work from after dinner until midnight in the studio."

"On the other hand, being a print curator gives me amazing access to museum collections and original art objects. I learn so much. I do not feel unconnected from history, but rather part of a continuum. I don't try to emulate artists who have gone before or who are working now, but I certainly do measure myself against them."

"Sometimes work I have done as an artist gives me an idea for an exhibition, even though I can't incorporate that fact into what I write about it. For example, right now I am preparing the exhibition, Art in Ruins, for the Des Moines Art Center. But it is really my own experience of drawing in the wreckage of a relative's house destroyed by fire and making engravings of this, and witnessing a small plane crash and later engraving it, that made me interested in this subject."

"The Des Moines Art Center is an extraordinary institution with a terrific collection, a great work environment, and wonderful colleagues. I have an enviable work arrangement. I feel I still have something to contribute in the way of teaching about prints. So I will undoubtedly continue to commute from Venice to Des Moines for the foreseeable future"

"Art has always been a big part of my life, I can always remember sitting down and painting and drawing with my sisters, and art would always be spoken about. When I was studying the IB I then realised that all I wanted to do was make art and that’s when I decide to take a gap year and then apply for City and Guilds."

"I am really inspired by Flora Yuknovich’s work, I think as soon as I arrived at City and Guilds and saw her paintings I feel in love with them. I am also really inspired and fascinated with botanical studies and love visiting Kew Gardens. Within my work I try to bring the loose, bold and dynamic style of Flora’s work alongside the minute details found in floral studies, whilst recreate and transcribing classical mythological paintings."

"This year I have been looking the play Antigone by Sophocles. At the beginning of my project I tried to find as many classical painting representations of the play and then I work from these paintings to create my own work."

"I am really interested in the beauty of these paintings and the dark tales that they often depict, and this battle between aesthetic beauty against the dark truth of human behaviours."

"I have just completed my degree series which I have been working on in lockdown. I have really enjoyed making it, however my dream series at the moment is just being able to make work in a large studio where I can work to any scale and have space to stand back. Lockdown had really shown my the importance of having a studio and the space to look at your work."

"When I paint I listen to the Harry Potter audiobooks on repeat."

"Whaaaaa I’m not sure, on my gap year I worked on a super yacht which was a crazy, exhausting and bind blowing all at the same time."

"The Garden of Earthly Delights by Bosch, I am obsessed with it."

"My work is inspired by Renaissance period paintings depicting Greek mythology. I am currently focusing on The Odyssey by Homer. The Renaissance paintings represent the drama within these stories, with dynamic compositions and rich colours. I use a range of different paintings depicting the myth to create a collage on Photoshop, breaking down the classical structure and the figuration; creating contrasts between scale, composition, figuration and abstraction. From them, I create large-scale paintings constructed in layers using a variety of mediums; oil, gouache and acrylic."

"The paintings start with a layer of gouache, blocking in colour and mapping out movement. Then acrylic paint is used for the floral patterns to intensify the placement of colours and black/grey structural lines breaking through the work. For some time now, I have been developing the use of organic floral forms to apply a different painting language when recreating these classical paintings. I am interested in breaking down the barriers between the decorative and the fine arts. So, rather than purely decorative, I see the floral and feminine forms as a different language of abstraction. In this layer, the acrylic is built up and overlaps with changes in scale to create depth. In the final layer oil paint is used, which is applied in glazes to push back areas and for the floral patterning. The oils create a unique, opaque effect as they sit on the surface."

"I feel like I am floating in plasma I need a teacher or a lover I need someone to risk being involved with me. I am so vain and I am so masochistic. How can they coexist?"

"Am I in the picture? Am I getting in or out of it? I could be a ghost, an animal or a dead body, not just this girl standing on the corner…?"

"You cannot see me from where I look at myself."

"Real things don't frighten me - just the ones in my mind do."

"This action that I foresee has nothing to do with melodrama. It is that life, as lived by me now, is a series of exceptions. I was , or am, not unique - but special. This is why I was an artist. I was inventing a language for people to see the everyday things that I also see, and show them something different. Nothing to do with not being able 'to take it' in the big city, or with self-doubt or because my heart is gone. And not to teach people a lesson. Simply the other side."

"Another year of dishonesty"

"The title for this painting is from the Devil in the White City, a book about a murderer who destroyed women during the chaos surrounding the Chicago’s 1893 World Fair. The image of “manufacturing of tears” fit well with the imagery I had been collecting of towers of babel connected to crying Mary Magdalenes. I was interested in placing these Babel-Magdalenes so that they covered the landscape, each unable to move."

"In creating the collage, the windmill was surreptitiously appeared…and it became apparent that is was there to blow debris into the Magdalene’s eyes and cause them to cry. In the process of collage, there are happy accidents that astound me. Next, I needed to figure out why they must cry and in my mind’s eye, I saw these structures all aflame. I realized that they were not merely sad but that they had to cry from danger of their own peril. For this reason, one is holding an onion…so as to produce more tears."

"“Each woman must cry and contribute her tears to a communal glass. By working together, perhaps one day they will produce enough tears to put out one fire and spare the one who is closest to immediate danger. To stop participating results in death.”"

"My paintings function as allegories and this one I think is as a metaphor for work and contributing to something like social security."

"My studio is a giant collage with images taped to the walls. By surrounding myself with images and fragments from paintings, I find relationships. From there I move things with tape to make a more specific composition of forms. It can be a slow process that sometimes takes years or a lightning fast instant when two things get stuck together and make a perfect new statement that I then render in paint."

"Painting is about painting and its history. In some ways, I am trying to bring the past back and keep it alive, and in other ways, I weave quotations of past work into a narrative that reflects my life experiences in the present now. I paint from collages cut from the pages of Western European art history, so in a way, I work to preserve the past, and to create a narrative – to write my name on body of work mostly made by men."

"I individually value the artists of the past but I also look at what I am doing like a quilt making."

"I grew up sleeping beneath quilts made by my great-grandmother. Each design had a name and meaning and each piece of cloth was a remnant from a dress of the many daughters, granddaughters, or great granddaughters. Each scrap went back to a greater cloth from which it was cut. They were narratives of textiles, garments, and lives; all combined they contained the aura of our family. Each was designed into a new creation to cover us from scraps of the old. Nothing was lost; it was ordered and reabsorbed into a larger pattern. This reflects my own process working from the fabric of art history. To answer your question: Yes! I love them all. I am interested in it all of art’s past. It gives me more to work with."

"I was teaching in Spain spring of 2020 and I watched as FSU’s campus in Italy close as the virus was killing thousands; and then, our own campus in Valencia closed. It was necessary for me to evacuate but not before I had to quickly try to finish a large painting project there and ship the work to friends in Paris and Vienna. Some of my packages have still not arrived at their destination because Covid has disrupted service and made things very complicated. It’s not a safe time to distribute art when the opening of services and facilities is so up in the air. Usually I show in ten shows a year all over the US and abroad. For now, I am taking a hiatus from exhibiting in person. I am hoping to take the next couple of years to turn inward and make my work in an intimate way without the pressure of circulation."

"I was born in Louisiana going back upwards of 10 generations of southerners, on my mother’s side, back to Jamestown. The South is a place behind the times – it runs slower. The South taught me tradition, storytelling, nostalgia, and preservation which are prevalent in my paintings. Returning to the South after traveling around the world, I am learning and becoming more aware about how systemically flawed our country is and I hope to be a better ally for finding solutions. I don’t yet know how this developing awareness might express its way into my art but I am reading books this summer about institutional racism. Most of my painting ideas can be traced back to what I am reading."

"These are images of works in progress in my studio. Some of these are from very complex collages and some from simpler. I think they reflect that struggle between maximalist and more minimal to compose."

"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.”"

"Art comes first for me. I enjoy inspiring others to be creative too. I prefer positive action rather than protest whenever possible. For example, I am currently painting the Mexican side of the U.S. border wall with kids across the border. This is the second border wall I’m painting. What I love about it is that it sends a clear message in a way that transcends fighting and protesting. I can’t personally tear down the border wall, but I can help change minds."

"I grew up on Martha’s Vineyard, a small island and home to many artists. After graduating art school in the mid 80’s, I spent a year in Guatemala. I loved its color and simple way of life. Things were getting increasingly scary there with war, so when I saw Bisbee, passing through on my way back east, it reminded me of Guatemala…a mountain village with simple houses and artistic people. It also felt very familiar to me because I grew up in a small creative community. After another winter in Guatemala, and the situation there getting worse, I decided to move to Bisbee in 1988. With the exception of a few years at sea, I’ve lived in Bisbee ever since. My favorite view to paint is right out my studio window at Central School Project. Downtown with B mountain"

"I was first introduced to art cars in the early 90’s in Bisbee by my friend Kate Pearson. She had just seen Harrod Blank’s film “Wild Wheels” and had met Harrod. She got inspired and made her own and I soon followed. My first car was called “The Funk Ambulance,” which was an Oldsmobile 98 painted with lions, a big sound system, and disco lights."

"In 1995 I moved on to painting a boat, and then a home built sailing raft my partner at the time and I built out of scrap lumber, logs and foam. We fashioned it into a painted dragon. We lived and sailed on it in the North-East for two years. It was hard living on the ocean so in 1999, I moved back to Bisbee."

"It wasn’t until 2008, when Hillary Clinton announced her candidacy, that art cars became a vehicle for activism for me. I wasn’t a political person at that point, but I had been a big fan of Hillary for years and vowed if she ever ran for President I’d do everything in my power to help get her elected. I immediately set to work and created my group “The Hillary Clinton Army.” The point of the group was to support Hillary using art. I painted my car with Hillary images, glued items such as toys, marbles and anything that caught my eye, and hit the campaign trail. The Hillcar was a hit and soon became part of Hillary’s entourage, traveling from town to town all over the country. I joined Hillary’s campaign again in 2016, and the Hillcar traveled to many states once again!"

"I am against the U.S./Mexican border wall, but rather than protest it directly, I chose to paint it with kids. I spent 6 years as “The Border Bedazzlers” painting the south side of the border wall with Mexican kids. We painted a full mile of border wall in Naco, Sonora. We turned something ugly into a giant canvas for art. Our painted border wall got torn down in 2016, shortly after Trump was elected. It was replaced with a metal slotted fence. I didn’t want to paint that fence, and always thought I’d like to start a kids’ free art center if I had a space to do so. I called an 80 year old border activist named Tom Carlson, and met him for coffee. The next day he gave me the keys to the old migrant center that hadn’t been used in a few years. I opened Studio Mariposa on Trump’s inauguration day as my own small protest."

"Studio Mariposa is a kids’ free art center located just across the border in Naco, Sonora. We are on our 6th year. Before the pandemic we had a weekly art day that around 100 kids attended. We offered all kinds of projects, from painting, clay, textiles, 3-dimensional art, and even our own kids’ band. During the pandemic we had to stop in-person events so we gave away free art supply bags for kids to make art at home. Around 400 kids picked up bags each week, and the art they made was astounding! A lot of kids really found their artistic voice at this time. Now we offer free outdoor classes and projects. We have a weekly outdoor painting class. We also paint murals around town, and as I already said, we have started painting border wall number 2. We are made possible by donations, so please consider donating"

"Narrative is telling a story, I’m providing a situation. And it's in time, right now. Paintings are not in time. These are not narrative paintings. They can't be. Painting is boom: it's one time! It doesn't move, unless you put two of them in diptychs, or cartoon strips. And that's how they move. You can be doing narrative that way, if you want. But single paintings are a situation, they're snapshots. So, I avoid the word narrative. I'm not telling a story. I'm telling a situation. And I don't know a better way to say that. If you have a better way, please give it to me now."

"On the same canvas. Yes. Well, that's essentially what I'm doing. And I have been tempted to say that I make history paintings—but I know quite well that nobody anymore knows what I mean. If you say “classic,” that doesn't mean anything, but “history painting” is what I'm doing and I know I'm doing that, but I wouldn't choose it as a way of explaining it to an audience today cause they don't know."

"No, I wasn't interested in being Irish. And I wasn't interested in being in the Irish—in the sense of their mindset and miracles … I think you called them “myths.” But in the scheme of things, I liked the Irish and I liked living in Ireland and moreso familiarizing myself with their bewitching landscape and that story."

"I have no idea! You've got more exotic Irish than I have. My neighbors would never tell me that sort of thing. They don't talk that way to me. I think it's rather interesting: a bunch of new paintings I'm thinking of doing still keep the “Giants” in mind. I came across something a couple of weeks ago where they found bones in Northern Ireland of a woman and a man. And I guess either in the same graves or next door to each other. But they were brother and sister. Incest. Maybe like the Pharaohs: they ruled as brother and sister."

"Grace is God’s radical, unconditional love for all humanity and all creation."

"I know myself well enough to be positive that I couldn't have lived through a whole year, or even a whole week, without finding something enjoyable about being alive, some-thing that made it more than just surviving. And if it might seem that I have got Polly Adler confused with Pollyanna, I can only say that I am one of those people who just can't help getting a kick out of life — even when it's a kick in the teeth."

"Harold was tops as a cavalier; every day he sent me more gardenias than most people go to the grave with."

"What it comes down to is this: the grocer, the butcher, the baker, the merchant, the landlord, the druggist, the liquor dealer, the policeman, the doctor, the city father and the politician – these are the people who make money out of prostitution, these are the real reapers of the wages of sin."

"The women who take husbands not out of love but out of greed, to get their bills paid, to get a fine house and clothes and jewels; the women who marry to get out of a tiresome job, or to get away from disagreeable relatives, or to avoid being called an old maid — these are whores in everything but name. The only difference between them and my girls is that my girls gave a man his money's worth."

"Your heart often knows things before your mind does, and I think from this time on, psychologically speaking, I was already retired from the business I had been in so long."

"I was just recalling the pet saying of an old madam named Vicki Shaw." "Oh? And what was that?" "Too many cooks," I said glumly, "spoil the brothel."