All Quotes

"Even the most optimistic advocate of innovation in medicine cannot ignore ever-increasing , costs associated in some measure with that we so much admire. And, as we are equally well aware, access to clinical services is far from universal or equitable. As I write this introduction, more than forty million Americans lack and medical expenses remain a major cause of bankruptcy. Still another paradox complicates the relationship between society and medicine. Though expectations of therapeutic efficacy have never been more euphoric and patients appear to trust their own physicians, respect for the medical profession has declined ... The is trusted even less."

"Physicians and since the days of Thomas Jefferson and Benjamin Rush have criticized the peculiar tensions of American life. The speculative pathologies which explain precisely how these tensions injured the mind and body have changed in form since the days of Rush, but the ambivalent attitudes which they express toward American life have not. Yet neither Benjamin Rush nor his successors later in the century—, , and , among others—were willing, warn as they might of the psychic perils of American life, to exchange its liberties for the placid tyranny of the Russian or Turkish empires (or, most Americans felt, their Protestantism for the formalistic reassurances of Catholicism)."

"Just as s and s assumed that their research illuminated the glory of God in His works, so did most nineteenth-century American physicians assume that there could be no conflict between their findings and the truths of morality. The human organism was a thing both material and divine, and offenses both physical and moral were necessarily punished with disease. Drinking, overeating, sexual excess, all carried with them inevitable retribution, not because the Lord deigned to intercede directly in human affairs, but because He had created man's body so that infringing on God's moral law meant disobeying the laws of . Moralism thus drew upon the prestige of science, while medicine was pleased that its findings supported the dictates of morality."

"... and Hugh Hodge, Philadelphia's leading teachers of in the 1840s and 1850s were vociferous in rejecting the suggestion that might be contagious, indeed often spread by the obstetrician himself ... The intensity of their response suggests that something more than mere intellectual difference was involved; one of the roots of their hostility to a contagionist point of view lay in the threat it implied for the physician's status, especially in relation to female patients."

"In an account that both travels over explored territory and covers new ground, Charles Rosenberg provides a vivid and complex history of a key institution. Rosenberg divides The Care of Strangers into two periods: the pre-Civil War era, before the advent of modern medicine, and from the war to the 1920s, by which time the had assumed modern form. The underlying theme of the book is that hospitals are a product of the interaction of and physicians. Hospitals were dominated by reformers as long as medical science was weak. But with its rise and the subsequent power of physicians, reformers and their social welfare goals faded."

"I enjoy words that sparkle, whether they be in Māori, my mother tongue, or English. What a privilege it is to inherit and to appreciate a language, and to enjoy another equally."

"I’m in love with that girl,” she said out loud in amazement, because she knew that this was a life-changing thing and life-changing things should be said aloud, should have a moment in time, and a place in the air, some molecular structure to make them real. I’m in love with that girl, she heard as it reverberated inside her head. And it was truth, she realised, as things are which you don’t think, but discover have always existed.”"

"Well, Louie, you’ll know then that Leviticus also tells us not to cut our beards, not to wear linen and wool together nor to eat crayfish or frogs or snails. I’m afraid that if we adhered to Leviticus the entire French nation would be an abomination in the eyes of the Lord"

"I am in love. It just happened, I never sought it, but I couldn't turn away from it"

"How lucky you are, to love and to be loved in return.”"

"So far it has worked by imagining you in all the places I would like you to be"

"this is the one I love.he is not here but the air is still warm from where he might have been"

"we have spent hours circling each other with words-thinly vowelled embraces"

"how to translate these words into silences or the silences into words"

"when I cannot fix you behind my eyes I carry your absence like stars on the blue roof."

"My dad is a pastor, and my mom is a pastor’s wife. Both my parents are quite musical."

"We used to sit at home and sing, which I’d say sparked and motivated my interest in music – those moments are my main influences."

"I’d go for days without going to church, even though I knew it was a place I’d need to refill"

"Soccer was the only thing I enjoyed and loved wholeheartedly"

"However, I couldn’t fulfil my dream due to my age [late 20s]. It was tough for me to accept because soccer was my first love, but I embraced what had to be."

"But age is a huge factor"

"What I love about being a gospel singer is that I get to serve people, unlike soccer, which is more of a hobby. What’s undeniable is that music chose me"

"I find it easy to maintain a decent life as a father and husband who is under the spotlight because of the music that I sing. When I write music, I fast and pray. It creates the intimacy that I need to have when making music,"

"Through this platform, countless lives have been touched, worship has been elevated, and the message of Christ has reached multitudes both locally and globally"

"However, as seasons change, so do assignments Rev.Dube believes that the time has come to focus fully on the next phase of his calling, which includes expanding his personal ministry, mentoring the next generation of gospel artists, and pursuing projects aligned with the unique mandate God has placed on his life."

"Oh it's terrifying, yeah: you come up to publication day and you suddenly realise 'right that's it, it's out in the world'. I remember when my publishers were telling me that it was starting to get on the bestseller list, and I was thinking 'Okay, well I've got a lot of family and a lot of friends, so okay that accounts for the first week'. And then I started realising that absolute strangers were gonna be reading it and...yeah it is quite terrifying actually."

"...all those other 'How To' books were just about people that knew about this thing. This is different, because he's not a bird-watcher; this is his journey into that world . . . I'd like it hardbacked and leather, because it's a lovely book. It's one you'd want to treasure."

"Hers was the first voice like hers that I had discovered in literature before. I was good at English . . . I had never come across a voice like hers before. She was a black woman from the States, and she just blew my mind..."

"The fact that he can focus so deeply on a dinner, or a conversation at a beach, or you know, the impending non-consummation of a marriage, was really wonderful. It had all the depth. But I was quite captivated by the food, the English food, and how kind of unappealing it was. It was just so banal and humdrum."

"A great deal of my fiction deals with extreme violence erupting in normal lives."

"I never decided that I would; I was just never able to stop."

"The way Doyle paints it is that the brotherhood, the Sinn Féin became the home for all these poor — you know, the woebegotten souls who were like trying to find their way."

"It's not a world that I know but I came to know something about it though the book which was good, but I see...when I look at literature, when I look at books I look at the structure of them and ... I saw a fairy tale actually, when I think about it you know the traditional princess who becomes a maid who rises to become a queen and all these mad people inbetween on that journey..."

"I have a new scarlet coat and I look like a fire engine and I don't give a damn..."

"I'm always happy because your definition of 'young" is elastic..."

"He taught me everything. He just used to say, and I'll never forget that, he said 'it's not big words and adjectives — that's boring'. And I thought 'ah yes' . . . I learned from that. Simplicity is the art of writing."

"It's typically Jamesian because in a way its an unambiguous story: you know exactly what's going on, but it creates these ambiguities of feeling in you, because you want her protected, yet you can't like the father who's protecting her..."

"...I wouldn't really be interested in writing a biography about someone who was obvious and straightforward. It's the enigma of a particular personality, I think, that drives your interest as a biographer. With someone like [John] Mulgan, someone like [Ralph] Hotere, there is a core there which is truly enigmatic, and which obviously fuels the work."

"...I have a problem with historic novels, I think that they tend to become history lessons and this book at times becomes a history lesson"

"...a lot of really bad books, like just shit books, are written with really great plots that really move along, and why should the devil have all the good tunes you know? I like a good story in a book. It's not very fashionable to say that, because people associate good stories with the kind of books that are a cop-out: books that are like bad middlebrow popular fiction. But what's bad about being entertained?"

"Part of that shorthand is the way that she works as well. I mean she's got this very reduced, very spare kind of style, which I loved. But more than anything I found it so compelling because of this fantastic unconsummated love, that really acts as a huge narrative pull."

"Writing didn't really get a look in until we had children. I made the decision that I was going to stay home and bring the kids up myself, and oddly enough that gave me the opportunity and the time to write finally. I say time very loosely there..."

"Some phrases you have to say out loud. it's like someone has poured warm milk into your skull, you know? It's just beautiful — I loved it."

"...of course it wasn't called Lord of the Flies to begin with; it was called something awful like A Cry of Children. And it took 22 goes to get the manuscript actually on the desk at Faber and Faber for someone to accept it. All these stories come out . . . the professional book reader who looked at Lord of the Flies and said 'rubbish, dull, pointless'."

"...legends are not only necessary to us, but however strong the legend, even if you try to demolish it, you can't. In fact you end up reinforcing it . . . We writers are mythmakers, whether we like it or not. The moment you write a book, you are very often adding to and sometimes creating a myth, and I've done both and I'm very happy with that."

"...what I liked about it is . . . you never know if you're nuts, you know? And he had no idea, until they started finding the bodies..."

"It was just extraordinary from the moment I started reading it. It doesn't have any chapters, and you just don't want it to stop. It's like that feeling of being a child again when you're reading a book and you honestly stay up all night reading it."

"For me, the idea that people in the past can be present, is not a very strange idea when you've had a lot of experience with people that feel that way. Being with [knowing] elders like Eruera Stirling for 20 odd years . . . he looked at the ancestors as if they were just in the next room."

"If someone was to tell me that I'd be raving on TV about a book about Diana, that's pink, [reading on] the bus, as a straight male, I'd tell you that 'you're wrong'. Let me just tell you that it's one of the most compelling books I've read!"

"I love the title, I loved it. in the same way that the stories take on extra meaning after coming after the other stories. What I love about it is the way the title 'Opportunity' takes on so much meaning coming after the novel's provocation..."