People From New York City

"Companies have a responsibility to train and retrain their employees."

"Employees cannot become more productive in every sense of the word unless they are provided with continuous on-the-job training."

"I killed nobody that didn't deserve killing. In all of these here killings there was no alternative. You couldn't call them cold-blooded killings.... It was either my life or theirs."

"Without heroes, we're all plain people, and don't know how far we can go."

"(Which authors do you think your writing most closely resembles?) Mukherjee: I see a strong likeness between my writing and Bernard Malamud's, in spite of the fact that he describes the lives of East European Jewish immigrants and I talk about the lives of newcomers from the Third World. Like Malamud, I write about a minority community which escapes the ghetto and adapts itself to the patterns of the dominant American culture. Like Malamud's, my work seems to find quite naturally a moral center...Malamud most of all speaks to me as a writer and I admire his work a great deal. Immersing myself in his work gave me the self-confidence to write about my own community."

"Bernard Malamud was like a second father to [my husband] Clark and me: he was Clark's teacher and when I got married that event also meant our friendship. I loved his writing but I didn't think it had anything to do with my own literary vision, with my world, until I had a very low moment in my life, in 1984. I had then very little money left because of a racist wave in Canada, I was not allowed there any more and legally I could not even have a job; and I was sitting in the kitchen reading Bernard Malamud's Selected Stories (1983) that the writer had sent me himself and suddenly, out of my self-despair, I said, "My God, he is writing about the Jewish community, about their attempts to accommodate to and assimilate American culture or about their failing to do so, which is precisely what I want to write about my own community." And that was my inspiration, in a way, for Darkness (1985), my first collection of stories."

"I have written almost all my life. My writing has drawn, out of a reluctant soul, a measure of astonishment at the nature of life. And the more I wrote well, the better I felt I had to write. In writing I had to say what had happened to me, yet present it as though it had been magically revealed. I began to write seriously when I had taught myself the discipline necessary to achieve what I wanted. When I touched that time, my words announced themselves to me. I have given my life to writing without regret, except when I consider what in my work I might have done better. I wanted my writing to be as good as it must be, and on the whole I think it is. I would write a book, or a short story, at least three times — once to understand it, the second time to improve the prose, and a third to compel it to say what it still must say. Somewhere I put it this way: first drafts are for learning what one's fiction wants him to say. Revision works with that knowledge to enlarge and enhance an idea, to re-form it. Revision is one of the exquisite pleasures of writing: The men and things of today are wont to lie fairer and truer in tomorrow's meadow, Henry Thoreau said. I don't regret the years I put into my work. Perhaps I regret the fact that I was not two men, one who could live a full life apart from writing; and one who lived in art, exploring all he had to experience and know how to make his work right; yet not regretting that he had put his life into the art of perfecting the work."

"If I may, I would at this point urge young writers not to be too much concerned with the vagaries of the marketplace. Not everyone can make a first-rate living as a writer, but a writer who is serious and responsible about his work, and life, will probably find a way to earn a decent living, if he or she writes well. A good writer will be strengthened by his good writing at a time, let us say, of the resurgence of ignorance in our culture. I think I have been saying that the writer must never compromise with what is best in him in a world defined as free."

"It was all those biographies in me yelling, “We want out. We want to tell you what we’ve done to you.”"

"Life is a tragedy full of joy."

"Those who write about life, reflect about life…. you see in others who you are."

"If your train's on the wrong track every station you come to is the wrong station."

"One can't make pure clay of time's mud. There is no life that can be recaptured wholly; as it was. Which is to say that all biography is ultimately fiction."

"I think I said "All men are Jews except they don't know it." I doubt I expected anyone to take the statement literally. But I think it's an understandable statement and a metaphoric way of indicating how history, sooner or later, treats all men."

"There comes a time in a man's life when to get where he has to – if there are no doors or windows – he walks through a wall."

"… keep in mind that the purpose of freedom is to create it for others."

"Mourning is a hard business," Cesare said. "If people knew there'd be less death."

"If you ever forget you are a Jew a goy will remind you."

"Levin wanted friendship and got friendliness; he wanted steak and they offered spam."

"I don't think you can do anything for anyone without giving up something of your own."

"We have two lives, Roy, the life we learn with and the life we live with after that. Suffering is what brings us toward happiness."

"You believe in freedom of speech for communists because what they say is true. You do not believe in freedom of speech for fascists because what they say is a lie."

"I am not on trial here, Mr. Chairman. This committee is on trial here before the American people. Let us get that straight."

"The media wants overnight successes (so they have someone to tear down). Ignore them. Ignore the early adopter critics that never have enough to play with. Ignore your investors that want proven tactics and predictable instant results. Listen instead to your real customers, to your vision and make something for the long haul. Because that's how long it's going to take, guys."

"The second person to write a story about a young boy and an escaped slave on the Mississippi wasn't a novelist, he was a typist."

"The problem with competition is that it takes away the requirement to set your own path, to invent your own method, to find a new way."

"There were other Batman writers throughout the years but they could never capture the style and flavor of Bill's scripts. Bill was the best writer in the business and it seemed that he was destined to write Batman."

"Robin was an outgrowth of a conversation I had with Bob. As I said, Batman was a combination of Fairbanks and Sherlock Holmes. Holmes had his Watson. The thing that bothered me was that Batman didn't have anyone to talk to, and it got a little tiresome always having him thinking. I found that as I went along Batman needed a Watson to talk to. That's how Robin came to be. Bob called me over and said he was going to put a boy in the strip to identify with Batman. I thought it was a great idea."

"Bill Finger and I created the Joker. Bill was the writer. Jerry Robinson came to me with a playing card of the Joker. That's the way I sum it up. [The Joker] looks like Conrad Veidt — you know, the actor in The Man Who Laughs, [the 1928 movie based on the novel] by Victor Hugo. … Bill Finger had a book with a photograph of Conrad Veidt and showed it to me and said, 'Here's the Joker'. Jerry Robinson had absolutely nothing to do with it. But he'll always say he created it till he dies. He brought in a playing card, which we used for a couple of issues for him [the Joker] to use as his playing card"."

"Bill Finger was a contributing force on Batman right from the beginning. He wrote most of the great stories and was influential in setting the style and genre other writers would emulate … I made Batman a superhero-vigilante when I first created him. Bill turned him into a scientific detective."

"Bob and I got on very well during the years I worked on Batman. He was a mild-mannered individual who made no demands on Jerry [Robinson] and me, and in general, he was terrific to work for."

"A lot of people don't give him [Kane] as much credit for his art, but I thought he had a flair. It was rudimentary, but in a way that worked to his benefit in the strip. He didn't know much about perspective and anatomy, so he had to improvise."

"When sexuality is operating in the service of intimacy, it is the fact that it is the particular other who is responding to the vulnerability inherent in sustaining desire that generates intensity and meaning. It is precisely the physiological intensity of the sexual response that lends the sexual encounter its dramatic interpersonal significance. This suggests that it is a mistake to regard the role of sexuality in relation to needs for relatedness and attachment as a "sexualization," which implies that sex is carrying something that can and somehow should be attended to in other ways. (Although this is sometimes the case.) The distinction between preoedipal and oedipal developmental levels often implies such an artificial and misleading separation between sexual experience and issues of attachment and connection. There is perhaps nothing better suited for experiencing and deepening the drama of search and discovery than the mutual arousal, sustaining, and quenching of sexual desire."

"In the integrated relational model presented here, sexuality and relational issues are not seen as alternative foci. Rather, sexuality is regarded as a central realm in which relational conflicts are shaped and played out."

"Orwell's defenders always look to contextualize Orwell's shortcomings in a historic moment. Whatever his infraction, he was a victim of circumstance—times were different then, and, for example, Hitler was looking really good for a minute there. Orwell never meant that his books should be employed to stultify schoolchildren. And yet that's what "Animal Farm" is—an educational missile aimed at any healthy impulse towards reform. The argument that "Animal Farm" is a generalized indictment of totalitarianism is simply unsupportable by the text or any existing presentation of the text. Rather, the intelligence of the pigs as opposed to the stupidity of the other animals, and the ultimate hopelessness of revolution, renders "Animal Farm" a de facto endorsement of the status quo."

"Sexual dysfunction often plays a key role in risk management by couples over time. It seems crucial not to get too excited about the other, and diminished excitement serves the purposes at once of self-protection and revenge. I was once excited about you, the diminished arousal seems to be expressing, but there is not much to get excited about now. Often lovers work together to pretend they are safer (even if also a bit sadder) over time, by collapsing their expectations of each other in collusively arranged, choreographed routine. Each feels the other is less exciting because of being so familiar and predictable. And each acts towards the other in as wholly and artificially predictable a fashion as possible. But, of course, lowering expectations also empties out passion. No risk, no gain."

"Rather than being a measure and consequence of the power of naturally occurring sexual desire, pornography is a measure of the extent to which people tend to prefer controlling desire through contrivance rather than being surprised by desire that spontaneously arises."

"From this perspective, the common experience of the fading of romance over time may have less to do with the inevitable undercutting of idealization by reality and familiarity than with the increasing danger of allowing oneself episodic, passionate idealization in a relationship that one depends on for security and predictability. Intense excitement about another is a dangerous business; it often is much safer to surrender to it with a person one cannot possibly spend much time with or will never see again. Sustaining desire for something important from someone important is the central danger of emotional life. What is so dangerous about desiring someone you have is that you can lose him or her. Desire for someone unknown and unobtainable operates as a defense against desire for someone known and obtainable, therefore capable of being lost."

"Love and desire are both thoroughly human. Our problem with them is that they orient us toward very different goals. Love seeks control, stability, continuity, certainty. Desire seeks surrender, adventure, novelty, the unknown. In love we are searching for points of attachment, anchoring, something we know we can count on. In desire we are searching both for missing, disowned pieces of ourselves and for something beyond ourselves, outside the borders of self-recognition that, under ordinary circumstances, we protect so fiercely.Erotic passion destabilizes one's sense of self. When we find someone intensely arousing who makes possible unfamiliar experiences of ourselves and an otherness we find captivating, we are drawn into the disorienting loopiness of self/other. We tend to want to control these experiences and the others who inspire them. Thus emotional connection tends to degrade into strategies for false security that suffocate desire."

"If the deepest, most fundamental levels of the analysand's pathology are to be reached, the relationship with the analyst becomes the vehicle for the establishment and articulation of bad-object relations. The analyst cannot enter the analysand's world in any form other than as a familiar (that is, "bad," or less than gratifying, object). This is true even though there often are elaborate resistances to the experience of the transference. Otherwise the analysis does not touch the analysand deeply, offers no promise, no hope for connection and transformation."

"One of the most profound and universal realizations of later childhood, a realization that probably is never totally integrated, is the discovery that one's parents are not necessarily representative of the human species, that one has grown up in an idiosyncratically structured family with its own peculiarities and dramas."

"The relational model provides different categories, different underlying structures into which experience can be organized. Here the establishment of strong connections to others, in reality or in fantasy, is presumed to be primary. Forms of relationship are seen as fundamental, and life is understood largely as an array of metaphors for expressing and playing out relational patterns: discovery, penetration, domination, surrender, control, longing, evasion, revelation, envelopment, merger, differentiation, and so on. The body is still centrally important. Sexuality and bodily experiences are viewed as particularly apt arenas for this activity, since sexuality is enormously multiform and plastic. The number of different body parts, the variability of interactions, the poignancy of the sensations, the immense number of combinations — the almost infinite variety of human sexual possibilities make this an enormously fertile reservoir of metaphors for expressing different types of relationships, different configurations of connections, between self and others."

"Your lips are thrilling My arms are willing I know that I shouldn't stay. If I don't leave I'll be sorry What will my Mary say?"

"One and two and three and four, Tell them what the girlie wore. It was an itsy bitsy teenie weenie yellow polka-dot bikini That she wore for the first time today, An itsy bitsy teenie weenie yellow polka-dot bikini So in the locker she wanted to stay"

"My folks were always putting her down (down, down) Because her laundry came back brown (brown, brown) I don't care if they think she's bad I fell in love cuz she looked so sad I got a date tonight with the Leader Of the Laundromat ."

"Catch a falling star an’ put it in your pocket, Never let it fade away! Catch a falling star an’ put it in your pocket, Save it for a rainy day! For love may come an' tap you on the shoulder, Some starless night!"

"When this old world gets me down and there's no love to be found I close my eyes and soon I find I'm in a playground in my mind Where the children laugh and the children play And we sing a song all day."

"Tracy, when I'm with you Somethin' you do Bounces me off the ceiling Tracy, day after day When you're this way I get a lovin' feelin'."

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

"[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."