Duke University Alumni

"Don’t just accept the world you inherit today. Don’t just accept the status quo. No big challenge has ever been solved, and no lasting improvement has ever been achieved, unless people dare to try something different. Dare to think different."

"We reject the excuse that getting the most out of technology means trading away your right to privacy. So we choose a different path, collecting as little of your data as possible, being thoughtful and respectful when it's in our care because we know it belongs to you."

"The countries that embrace openness do exceptional and the countries that don’t, don’t. It’s not a matter of carving things up between sides. I’m going to encourage that calm heads prevail."

"If you want me to only do things for ROI reasons then you should get out of this stock."

"Tim Cook’s strategy has a built-in cliff-drop just after the peak of success. As the new iPhones gather plaudits and dollars, they continue the inevitable march towards that cliff."

"It was like a total revelation for me that a company could run like this, because I was used to these layers and bureaucracies and studies—the sort of paralysis that companies could get into—and Apple was totally different."

"We [at Apple] worry about the humanity being drained out of music, about it becoming a bits-and-bytes kind of world instead of the art and craft."

"I don’t think business should only deal in commercial things. Business, to me, is nothing more than a collection of people. If people have values, then companies should."

"All of these things are great conveniences of life. They change your daily life in a great way. But if you're getting bombarded by notifications all day long, that's probably a use of the system that might not be so good anymore.""

"If you dislike change, you're going to dislike irrelevance even more."

"You must love those you lead before you can be an effective leader. You can certainly command without that sense of commitment, but you cannot lead without it."

"I do not want to criticize while my soldiers are still bleeding and dying in Iraq."

"It has been very humbling and gratifying to have these men as our role models... Your generation enabled America to close out the twentieth century as the greatest nation in the history of mankind, the only remaining superpower, the world's leading economy and the world's most respected and feared military force in the world- respected by our friends and allies, feared by our adversaries."

"General Keane is, as is General Shinseki, they're outstanding Army officers. There's just no question about it. And they say what they believe, and they tell the truth. And they're honorable people and talented people."

"Let your love flow out on all living things. These words at some level have the quality of a strapping homily. Nonetheless, they are remarkably beautiful, strung together in their honest lump-like English syllables... Let your love flow out on all living things. But there are a couple of problems with this precept of mine. The first is, of course, that it is not mine. It springs from the universe and is the property of God, and the words have been intercepted — on the wing, so to speak — by such mediators as Lao-tzu, Jesus, Gautama Buddha and thousands upon thousands of lesser prophets, including your narrator, who heard the terrible truth of their drumming somewhere between Baltimore and Wilmington and set them down with the fury of a madman sculpting in stone."

"The most profound statement yet made about Auschwitz was not a statement at all, but a response. The query: “At Auschwitz, tell me, where was God?” And the answer: “Where was man?”"

"Someday I will understand Auschwitz. This was a brave statement but innocently absurd. No one will ever understand Auschwitz."

"Her thought process dwindled, ceased. Then she felt her legs crumple. "I can't choose! I can't choose!""

"I would have done it all again. I would have destroyed them all. Yet I would have spared one. I would have spared her that showed me Him whose presence I had not fathomed or maybe never even known. Great God, how early it is! Until now I had almost forgotten His name. “Come!” the voice booms, but commanding me now: Come, My son! I turn in surrender. Surely I come quickly. Amen. Even so, come, Lord Jesus. Oh how bright and fair the morning star …"

"I raise my eyes upward. There alone amidst the blue, steadfast, unmoving, fiery marvel of brightness, shines the morning star. Never has that star seemed so radiant, and I stand gazing at it and do not move though the chill of the damp floor imprisons my feet in piercing icebound pain. Surely I come quickly …"

"I shivered in the knowledge of the futility of all ambition. My mouth was sour with the yellow recollection of death and blood-smeared fields and walls. I watched the girl slip away, vanish without a hand laid upon her. Who knows but whether we were not doomed to lose. I know nothing any longer. Nothing. Did I really wish to vouchsafe a life for the one that I had taken?"

"“Surely mankind has yet to be born. Surely this is true! For only something blind and uncomprehending could exist in such a mean conjunction with its own flesh, its own kind. How else account for such faltering, clumsy, hateful cruelty? Even the possums and the skunks know better! Even the weasels and the meadow mice have a natural regard for their own blood and kin. Only the insects are low enough to do the low things that people do — like those ants that swarm on poplars in the summertime, greedily husbanding little green aphids for the honeydew they secrete. Yes, it could be that mankind has yet to be born. Ah, what bitter tears God must weep at the sight of the things that men do to other men!” He broke off then and I saw him shake his head convulsively, his voice a sudden cry: “In the name of money! Money! ”"

"Grieving, yet somehow unbending, steadfast, unafraid, the voice rose through the evening like memory, and a gust of wind blew up from the river, dimming the song, rustling the trees, then died and became still. I’ll lay in de grave and stretch out my arms … Suddenly the voice ceased, and all was quiet. Then what I done was wrong, Lord? I said. And if what I done was wrong, is there no redemption? I raised my eyes upward but there was no answer, only the gray impermeable sky and night falling fast over Jerusalem."

"RIDING DOWN TO Port Warwick from Richmond, the train begins to pick up speed on the outskirts of the city, past the tobacco factories with their ever-present haze of acrid, sweetish dust and past the rows of uniformly brown clapboard houses which stretch down the hilly streets for miles, it seems, the hundreds of rooftops all reflecting the pale light of dawn; past the suburban roads still sluggish and sleepy with early morning traffic, and rattling swiftly now over the bridge which separates the last two hills where in the valley below you can see the James River winding beneath its acid-green crust of scum out beside the chemical plants and more rows of clapboard houses and into the woods beyond."

"My life and work have been far from free of blemish, and so I think it would be unpardonable for a biographer not to dish up the dirt."

"It could be all unwittingly that I wrote in Darkness Visible what amounted to a Rosetta stone for my other work."

"When, in the autumn of 1947, I was fired from the first and only job I have ever held, I wanted one thing out of life: to become a writer. I left my position as manuscript reader at the McGraw-Hill Book Company with no regrets; the job had been onerous and boring. It did not occur to me that there would be many difficulties to impede my ambition; in fact, the job itself had been an impediment. All I knew was that I burned to write a novel and I could not have cared less that my bank account was close to zero, with no replenishment in sight. At the age of twenty-two I had such pure hopes in my ability to write not just a respectable first novel, but a novel that would be completely out of the ordinary, that when I left the McGraw-Hill Building for the last time I felt the exultancy of a man just released from slavery and ready to set the universe on fire."

"I discovered that I had, in the past two decades, written a far greater amount in the essay form than I remembered. Certainly I have written enough of it to demonstrate that I harbor no disdain for literary journalism or just plain journalism, under whose sponsorship I have been able to express much that has fascinated me, or alarmed me, or amused me, or otherwise engaged my attention when I was not writing a book."

"The good writing of any age has always been the product of someone's neurosis, and we'd have a mighty dull literature if all the writers that came along were a bunch of happy chuckleheads."

"Writers ever since writing began have had problems, and the main problem narrows down to just one word — life. Certainly this might be an age of so-called faithlessness and despair we live in, but the new writers haven’t cornered any market on faithlessness and despair, any more than Dostoyevsky or Marlowe or Sophocles did. Every age has its terrible aches and pains, its peculiar new horrors, and every writer since the beginning of time, just like other people, has been afflicted by what that same friend of mine calls “the fleas of life”—you know, colds, hangovers, bills, sprained ankles, and little nuisances of one sort or another. They are the constants of life, at the core of life, along with nice little delights that come along every now and then."

"A great book should leave you with many experiences, and slightly exhausted at the end. You live several lives while reading it."

"(asked about The Confessions of Nat Turner) Morrison: Well, here we have a very self-conscious character who says things like, "I looked at my black hand." Or "I woke up and I felt black." It is very much on Bill Styron's mind. He feels charged in Nat Turner's skin...in this place that feels exotic to him. So it reads exotically to us, that's all. (Interviewer: There was a tremendous outcry at that time from people who felt that Styron didn't have a right to write about Nat Turner.) Morrison: He has a right to write about whatever he wants. To suggest otherwise is outrageous. What they should have criticized, and some of them did, was Styron's suggestion that Nat Turner hated black people. In the book Turner expresses his revulsion over and over again he's so distant from blacks, so superior. So the fundamental question is why would anybody follow him? What kind of leader is this who has a fundamentally racist contempt that seems unreal to any black person reading it. Any white leader would have some interest and identification with the people he was asking to die. That was what these critics meant when they said Nat Turner speaks like a white man. That racial distance is strong and clear in that book."

""Confessions of Nat Turner," is a book I admire very much. But, you see, I read that book as the "Confessions of Bill Styron" and I'm not trying to put the book down when I say that. I respect the book very much. I respect him very much and I respect his attempt to grapple with something almost no one in his generation is prepared to even look at... The book meant something to me because it was a white Southern writer's attempt to deal with something that was tormenting him and frightening him. I respect him very much for that. Now, as to his execution, what is one to say about it? (“I'm still waiting for the white writer to write a novel about a lynching from the point of view of the lyncher.”) Yes, I quite agree with you. I said before that America's effort to avoid the presence of black people constricts American literature. It creates a trap white writers find themselves in."

"For those who have dwelt in depression’s dark wood, and known its inexplicable agony, their return from the abyss is not unlike the ascent of the poet, trudging upward and upward out of hell’s black depths and at last emerging into what he saw as “the shining world.” There, whoever has been restored to health has almost always been restored to the capacity for serenity and joy, and this may be indemnity enough for having endured the despair beyond despair."

"In many of Albrecht Dürer’s engravings there are harrowing depictions of his own melancholia; the manic wheeling stars of Van Gogh are the precursors of the artist’s plunge into dementia and the extinction of self. It is a suffering that often tinges the music of Beethoven, of Schumann and Mahler, and permeates the darker cantatas of Bach. The vast metaphor which most faithfully represents this fathomless ordeal, however, is that of Dante, and his all-too-familiar lines still arrest the imagination with their augury of the unknowable, the black struggle to come:"

"For in virtually any other serious sickness, a patient who felt similar devastation would be lying flat in bed, possibly sedated and hooked up to the tubes and wires of life-support systems, but at the very least in a posture of repose and in an isolated setting. His invalidism would be necessary, unquestioned and honorably attained. However, the sufferer from depression has no such option and therefore finds himself, like a walking casualty of war, thrust into the most intolerable social and family situations. There he must, despite the anguish devouring his brain, present a face approximating the one that is associated with ordinary events and companionship. He must try to utter small talk, and be responsive to questions, and knowingly nod and frown and, God help him, even smile."

"There is a region in the experience of pain where the certainty of alleviation often permits superhuman endurance. We learn to live with pain in varying degrees daily, or over longer periods of time, and we are more often than not mercifully free of it. When we endure severe discomfort of a physical nature our conditioning has taught us since childhood to make accommodations to the pain’s demands — o accept it, whether pluckily or whimpering and complaining, according to our personal degree of stoicism, but in any case to accept it. Except in intractable terminal pain, there is almost always some form of relief; we look forward to that alleviation, whether it be through sleep or Tylenol or self-hypnosis or a change of posture or, most often, through the body’s capacity for healing itself, and we embrace this eventual respite as the natural reward we receive for having been, temporarily, such good sports and doughty sufferers, such optimistic cheerleaders for life at heart. In depression this faith in deliverance, in ultimate restoration, is absent. The pain is unrelenting, and what makes the condition intolerable is the foreknowledge that no remedy will come — not in a day, an hour, a month, or a minute. If there is mild relief, one knows that it is only temporary; more pain will follow. It is hopelessness even more than pain that crushes the soul. So the decision-making of daily life involves not, as in normal affairs, shifting from one annoying situation to another less annoying — or from discomfort to relative comfort, or from boredom to activity — but moving from pain to pain. One does not abandon, even briefly, one's bed of nails, but is attached to it wherever one goes."

"I had now reached that phase of the disorder where all sense of hope had vanished, along with the idea of a futurity; my brain, in thrall to its outlaw hormones, had become less an organ of thought than an instrument registering, minute by minute, varying degrees of its own suffering."

"When I was first aware that I had been laid low by the disease, I felt a need, among other things, to register a strong protest against the word “depression.” Depression, most people know, used to be termed “melancholia,” a word which appears in English as early as the year 1303 and crops up more than once in Chaucer, who in his usage seemed to be aware of its pathological nuances. “Melancholia” would still appear to be a far more apt and evocative word for the blacker forms of the disorder, but it was usurped by a noun with a bland tonality and lacking any magisterial presence, used indifferently to describe an economic decline or a rut in the ground, a true wimp of a word for such a major illness. It may be that the scientist generally held responsible for its currency in modern times, a Johns Hopkins Medical School faculty member justly venerated — the Swiss-born psychiatrist Adolf Meyer — had a tin ear for the finer rhythms of English and therefore was unaware of the semantic damage he had inflicted by offering “depression” as a descriptive noun for such a dreadful and raging disease. Nonetheless, for over seventy-five years the word has slithered innocuously through the language like a slug, leaving little trace of its intrinsic malevolence and preventing, by its very insipidity, a general awareness of the horrible intensity of the disease when out of control. As one who has suffered from the malady in extremis yet returned to tell the tale, I would lobby for a truly arresting designation. “Brainstorm,” for instance, has unfortunately been preempted to describe, somewhat jocularly, intellectual inspiration. But something along these lines is needed. Told that someone’s mood disorder has evolved into a storm — a veritable howling tempest in the brain, which is indeed what a clinical depression resembles like nothing else — even the uninformed layman might display sympathy rather than the standard reaction that “depression” evokes, something akin to “So what?” or “You’ll pull out of it” or “We all have bad days.” The phrase “nervous breakdown” seems to be on its way out, certainly deservedly so, owing to its insinuation of a vague spinelessness, but we still seem destined to be saddled with “depression” until a better, sturdier name is created."

"This general unawareness of what depression is really like was apparent most recently in the matter of Primo Levi, the remarkable Italian writer and survivor of Auschwitz who, at the age of sixty-seven, hurled himself down a stairwell in Turin in 1987. Since my own involvement with the illness, I had been more than ordinarily interested in Levi’s death, and so, late in 1988, when I read an account in The New York Times about a symposium on the writer and his work held at New York University, I was fascinated but, finally, appalled. For, according to the article, many of the participants, worldly writers and scholars, seemed mystified by Levi’s suicide, mystified and disappointed. It was as if this man whom they had all so greatly admired, and who had endured so much at the hands of the Nazis — a man of exemplary resilience and courage — had by his suicide demonstrated a frailty, a crumbling of character they were loath to accept. In the face of a terrible absolute — self-destruction — their reaction was helplessness and (the reader could not avoid it) a touch of shame. My annoyance over all this was so intense that I was prompted to write a short piece for the op-ed page of the Times. The argument I put forth was fairly straightforward: the pain of severe depression is quite unimaginable to those who have not suffered it, and it kills in many instances because its anguish can no longer be borne. The prevention of many suicides will continue to be hindered until there is a general awareness of the nature of this pain. Through the healing process of time — and through medical intervention or hospitalization in many cases — most people survive depression, which may be its only blessing; but to the tragic legion who are compelled to destroy themselves there should be no more reproof attached than to the victims of terminal cancer."

"One of the century’s most famous intellectual pronouncements comes at the beginning of The Myth of Sisyphus: “There is but one truly serious philosophical problem, and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy.” Reading this for the first time I was puzzled and continued to be throughout much of the essay, since despite the work’s persuasive logic and eloquence there was a lot that eluded me, and I always came back to grapple vainly with the initial hypothesis, unable to deal with the premise that anyone should come close to wishing to kill himself in the first place. A later short novel, The Fall, I admired with reservations; the guilt and self-condemnation of the lawyer-narrator, gloomily spinning out his monologue in an Amsterdam bar, seemed a touch clamorous and excessive, but at the time of my reading I was unable to perceive that the lawyer was behaving very much like a man in the throes of clinical depression. Such was my innocence of the very existence of this disease."

"When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise."

"Depression is a disorder of mood, so mysteriously painful and elusive in the way it becomes known to the self — to the mediating intellect — as to verge close to being beyond description. It thus remains nearly incomprehensible to those who have not experienced it in its extreme mode, although the gloom, “the blues” which people go through occasionally and associate with the general hassle of everyday existence are of such prevalence that they do give many individuals a hint of the illness in its catastrophic form."

"In Paris on a chilling evening late in October of 1985 I first became fully aware that the struggle with the disorder in my mind — a struggle which had engaged me for several months — might have a fatal outcome."

"And as I began to discipline and harness myself, began for the first time to examine as coldly and as clinically as I could the tough problems which before this I had refused to face, I had a fine revelation. I realized that what had been lacking in my novelist's vision was really a sense of architecture - a symmetry, perhaps unobtrusive but always there, without which a novel sprawls, becoming a self-indulgent octopus. It was a matter of form, and up until now this was an issue that out of laziness or fear, perhaps both, I had tried to avoid. I completed Lie Down in Darkness on a spring evening in 1951 in a room on West Eighty-Eighth Street in Manhattan."

"I bought a bottle of old Grand-Dad bourbon; it was, I remember precisely, a full half pint, which was a prodigious amount of booze for a young man of twenty - at least, I know, for me. I got gloriously drunk on the Southern Railway local that rattled its way all night up through the Carolinas, gazing out at the bleak, moon-drenched wintry fields and happily pondered my deliverance. The chancellor, bless his soul, had really taken most of the curse off the bitter defeat I had initially felt there at the Biltmore. It really was better for me not to go to Oxford, I told myself, throwing in various Anglophilic injunctions: the food you wouldn't feed to a starving hound dog, the men were prancing homosexuals, the women all had foul breath, it was a moribund civilisation. "Screw Oxford," I remember saying aloud, and "Up yours, Cecil Rhodes!" Next year, instead of shivering to death in some library carrel, instead of - "Get this, old fellow!" I heard myself cackling - instead of writing a paper on the hexameters of Arthur Hugh Clough, that old Victorian nanny, I would be in New York, beginning my first novel."

"William Blackburn [i.e. one of William Styron's teachers] cared about writing and had an almost holy concern for the langage. Before too long my work got much better. I sweated like a coolie over my essays, themes and fledgling short stories until my splintered syntax and humpbacked prose achieved a measure of clarity and grace. He informed me that one could not become a writer without a great deal of reading. To write one must read, he repeated, read . . . He was unquestionably a glorious teacher. I deeply miss him. It helped immeasurably to have him tell me, at the age of twenty-one, that I could become a writer."

"When At Play in the Fields of the Lord was published in 1965 there was revealed in stunning outline the fully realized work of a novelist writing at white heat and at the peak of his powers; [...] Peter is a poet and a scientist, and the mingling of these two personae has given us such carefully observed, unsentimental, yet lyrically echoing works as The Cloud Forest, Under the Mountain Wall, The Tree where Man was Born and The Snow Leopard. [...] We behold a writer of phenomenal scope and versatility."

"I think it is absolute and unimpeachable testimony to a book's impact on us that we are able to associate it so keenly with the time and the surroundings and the circumstances in which we read it. Only a very great work can produce this memory; [...] There is what psychologists call a gestalt, an unforgettability of interwoven emotions with which the work will ever in recollection be connected with the environment. Somehow the excitement of reading All the King's Men is always linked in my mind with the howling blizzard outside and the snow piling up in a solid white impacted mass outside my basement window. [...] I finished All the King's Men as in a trance, knowing once and for all that I, too, however falteringly and incompletely, must try to work such magic."

"For General of the Army Douglas MacArthur, military life may be symbolized by "beacons flashing across uncharted depths . . . faint bugles sounding reveille," but for many if not most of his countrymen it is something else: it is reveille. It is training manuals and twenty-mile hikes, stupefying lectures on platoon tactics and terrain and the use of the Lister bag, mountains of administrative paperwork, compulsive neatness and hideous barracks in Missouri and Texas, sexual deprivation, hot asphalt drill fields and deafening rifle ranges, daily tedium unparalleled in its ferocity, awful food, bad pay, ignorant people and a ritualistic demand for ass-kissing almost unique in the quality of its humiliation. The world that MacArthur thrills to makes most of his fellow Americans choke with horror."