Philanthropists From The United States

"How do these super-smart people with all these degrees and higher mathematics end up doing these dumb things? I think it's explainable by the old proverb that to the man with a hammer every problem looks pretty much like a nail. They've learned these techniques and they just twist the problem so it fits the solution — which is not the way to do it."

"You can't give the average Wall Street CEO really lenient standards of accounting and expect the figures to be good. The accountant is like the referee in soccer. The accountant has to be the adult that prevents the mayhem. Accountants don't want to be the adults because it causes liability, it causes responsibility, it causes difficulty ... they failed us terribly."

"Our investment style has been given a name - focus investing - which implies ten holdings, not one hundred or four hundred. The idea that it is hard to find good investments, so concentrate in a few, seems to me to be an obvious idea. But 98% of the investment world does not think this way. It's been good for us."

"You have to learn all the big ideas in the key disciplines in a way that they're in a mental latticework in your head and you automatically use them for the rest of your life. If you do that, I solemnly promise you that one day you'll be walking down the street and you'll look to your right and left and you’ll think "my heavenly days, I'm now one of the few competent people in my whole age cohort." If you don't do it, many of the brightest of you will live in the middle ranks or in the shallows."

"The hard part of the process for most people is the first $100,000. If you have a standing start at zero, getting together $100,000 is a long struggle for most people."

"The first $100,000 is a bitch, but you gotta do it. I don’t care what you have to do — if it means walking everywhere and not eating anything that wasn’t purchased with a coupon, find a way to get your hands on $100,000. After that, you can ease off the gas a little bit."

"... much of what is taught in modern corporate finance courses is twaddle."

"Obviously, you have to know accounting. It's the language of practical business life. It was a very useful thing to deliver to civilization. I've heard it came to civilization through Venice which of course was once the great commercial power in the Mediterranean. However, double-entry bookkeeping was a hell of an invention. And it's not that hard to understand. But you have to know enough about it to understand its limitations — because although accounting is the starting place, it's only a crude approximation. And it's not very hard to understand its limitations. For example, everyone can see that you have to more or less just guess at the useful life of a jet airplane or anything like that. Just because you express the depreciation rate in neat numbers doesn't make it anything you really know."

"Security is for cadavers."

"He doesn't do anything small. Everything he does, he does right."

"In business you wind up trying a lot of things, most of which won’t work. The way you become a good business person is to fail, fail, fail and fail."

"When you're in the middle of nowhere and you see something moving in the jungle, you're forced to become a creative problem solver."

"To young readers Sendak's "kiddie books" – in particular, 1963's hugely popular Where the Wild Things Are – were anything but idiotic, creating imaginative visions of childhood that adults might have considered dark, cruel or disturbing, but which thrilled and delighted three generations of children."

"The ripeness was a letter that John Keats wrote to his brother who emigrated to America describing what it was like to have a peach or piece of a peach in his mouth. And it's one of the sexiest things you will ever read of how slow you should take the peach. Don't rush it. Let it go through your palette. Let it lie on your tongue. Let it melt a little bit. Let it run from the corners. It's like describing the most incredible sex orgy. And then, you bite. But, it must be so ripe. It must be so delicious. In other words, you must not waste a second of this deliciousness which for him was life and being a great poet. That you savor every, everything that happened. I want to get ripe."

"My big concern is me and what do I do now until the time of my death. That is valid. That is useful. That is beautiful. That is creative. And also, I want to be free again. I want to be free like when I was a kid … Where we just had fun. What I mean by this is I've had my career. I've had my success. God willing, it should have happened to Herman Melville who deserved it a great deal more, you know? Imagine him being on Bill Moyers' show. Nothing good happened to Herman Melville. I want to see me to the end working, living for myself. "Ripeness is all." Now, interpreting what ripeness is our own individual problem. … So, what is the point of it all? Not leaving legacies. But being ripe. Being ripe."

"Herman Melville is a god. … I cherish what he did. He was a genius. Wrote Moby-Dick. Wrote Pierre. Wrote The Confidence-Man, wrote Billy Budd. … Oh, yes. Look at him. … Scares the bejesus out of people and makes them hate him. Because he's so [[good.] Claggart has him killed in that book. Claggart has his eye on that boy. He will not tolerate such goodness, such blondeness, such blue eye. Goodness is scary. It's like you want to knock it. You want to hit it. Are we a country of beating down things? We love seeing people go down."

"Art has always been my salvation. And my gods are Herman Melville, Emily Dickinson, Mozart. I believe in them with all my heart. And when Mozart is playing in my room, I am in conjunction with something I can't explain — I don't need to. I know that if there's a purpose for life, it was for me to hear Mozart. Or if I walk in the woods and I see an animal, the purpose of my life was to see that animal. I can recollect it, I can notice it. I'm here to take note of. And that is beyond my ego, beyond anything that belongs to me, an observer, an observer."

"Hitler made a film about "Hitler gives a camp to the Jews". And they look all shiny. And they're drawing. And they're playing volleyball. And people are dancing. And people are having a wonderful time. And everybody fell for it."

"The blackbirds are in this book, they're both pro the kids and against the kids. Just like fate. Sometimes it goes your way. Sometimes... and also a blackbird is from my passion for Schubert songs and his blackbirds and his birds of doom or birds of good. … some people were baffled that in the last big picture of that book, there's a crucifix on the wall of the children's house. Everybody assumes the hero and heroine are Jewish and the mother is Jewish. They're not. They're not. — That was my point. Those kids were in the wrong place at the wrong time. And all children were in the Holocaust. Everybody was in the Holocaust. So, I made sure my hero and heroine were not Jewish children. That was too easy. That was too easy."

"You can't get rid of evil. We can't, and I feel that so intensely. All the idiots that keep coming into the world and wrecking people's lives. And it is such an abundance of idiocy that you lose courage, okay? That you lose hope — I don't want to lose hope. I get through every day — I'm pretty good — I work. I sleep. I sing. I walk. But, I'm losing hope."

"I certainly don't spell it out. But they have to know it's possible things are bad. But, they are surrounded by people who love them and will protect them but cannot hide the fact that there is something bad."

"Maybe there are lots of children or certainly those who are not drawn to my work because they don't want to see those shadows. But, I'm telling what it was like for me. And I know it was not unique for me. I've known many children, many unhappy and many disturbed children who don't know how to talk about it. And you know, the strangest thing... the fan mail I get from kids are asking me questions which they do not ask their mothers and fathers. Because if they had, why write to me, a perfect stranger?"

"I often went to bed without supper 'cause I hated my mother's cooking. So, to go to bed without supper was not a torture to me. If she was gonna hurt me, she'd make me eat."

"I was talking about kids I knew and me. A book, an American book, where the child actually daunts his mother and threatens her. No way. No way. And then on top of that, she puts him in a room and denies him food. No way. Mamas never do that kinda thing. Kids never get pissed at their parents. Unheard of. And the worst offense, he comes home. She leaves food for him. And he's not punished. Not punished."

"I wasn't gonna paint. And I wasn't gonna do ostentatious drawings. I wasn't gonna have gallery pictures. I was gonna hide somewhere where nobody would find me and express myself entirely. I'm like a guerrilla warfare in my best books."

"I'm not Hans Christian Andersen. Nobody's gonna make a statue in the park with a lot of scrambling kids climbing up me. I won't have it, okay?"

"We're animals. We're violent. We're criminal. We're not so far away from the gorillas and the apes, those beautiful creatures. … And then, we're supposed to be civilized. We're supposed to go to work every day. We're supposed to be nice to our friends and send Christmas cards to our parents. We're supposed to do all these things which trouble us deeply because it's so against what we naturally would want to do. And if I've done anything, I've had kids express themselves as they are, impolitely, lovingly — they don't mean any harm. They just don't know what the right way is. And as it turns out sometimes the so-called "right way" is utterly the wrong way. What a monstrous confusion."

"Once a little boy sent me a charming card with a little drawing on it. I loved it. I answer all my children’s letters — sometimes very hastily — but this one I lingered over. I sent him a card and I drew a picture of a Wild Thing on it. I wrote, “Dear Jim: I loved your card.” Then I got a letter back from his mother and she said, “Jim loved your card so much he ate it.” That to me was one of the highest compliments I’ve ever received. He didn’t care that it was an original Maurice Sendak drawing or anything. He saw it, he loved it, he ate it."

"I’m gay. I just didn’t think it was anybody’s business … All I wanted was to be straight so my parents could be happy. They never, never, never knew."

"We were the "chosen people," chosen to be killed?"

"When you hide another story in a story, that’s the story I am telling the children."

"An illustrator in my own mind — and this is not a truth of any kind — is someone who so falls in love with writing that he wishes he had written it, and the closest he can get to is illustrating it. And the next thing you learn, you have to find something unique in this book, which perhaps even the author was not entirely aware of. And that’s what you hold on to, and that’s what you add to the pictures: a whole Other Story that you believe in, that you think is there."

"One of the few graces of getting old — and God knows there are few graces — is that if you’ve worked hard and kept your nose to the grindstone, something happens: The body gets old but the creative mechanism is refreshed, smoothed and oiled and honed. That is the grace. That is the splendid grace. And I think that is what’s happening to me."

"I don't believe in things literally for children. That's a reduction."

"We've educated children to think that spontaneity is inappropriate. Children are willing to expose themselves to experiences. We aren't. Grownups always say they protect their children, but they're really protecting themselves. Besides, you can't protect children. They know everything."

"Children are tough, though we tend to think of them as fragile. They have to be tough. Childhood is not easy. We sentimentalize children, but they know what's real and what's not. They understand metaphor and symbol. If children are different from us, they are more spontaneous. Grown-up lives have become overlaid with dross."

"You cannot write for children... They're much too complicated. You can only write books that are of interest to them."

"I wanted my wild things to be frightening. But why? It was probably at this point that I remembered how I detested my Brooklyn relatives as a small child. They came almost every Sunday, and there was my week-long anxiety about their coming the next Sunday... They'd lean way over with their bad teeth and hairy noses, and say something threatening like "You're so cute I could eat you up." And I knew if my mother didn't hurry up with the cooking, they probably would."

"I believe there is no part of our lives, our adult as well as child life, when we're not fantasizing, but we prefer to relegate fantasy to children, as though it were some tomfoolery only fit for the immature minds of the young. Children do live in fantasy and reality; they move back and forth very easily in a way we no longer remember how to do."

"There must be more to life than having everything!"

"Certainly we want to protect our children from new and painful experiences that are beyond their emotional comprehension and that intensify anxiety; and to a point we can prevent premature exposure to such experiences. That is obvious. But what is just as obvious — and what is too often overlooked — is the fact that from their earliest years children live on familiar terms with disrupting emotions, fear and anxiety are an intrinsic part of their everyday lives, they continually cope with frustrations as best they can. And it is through fantasy that children achieve catharsis. It is the best means they have for taming Wild Things."

"Please don't go. We'll eat you up. We love you so."

"And now," cried Max, "let the wild rumpus start!"

"And when he came to the place where the wild things are, they roared their terrible roars and gnashed their terrible teeth and rolled their terrible eyes and showed their terrible claws till Max said, "Be still" and tamed them with the magic trick of staring into all their yellow eyes without blinking once. And they were frightened and called him the most wild thing of all and made him king of all wild things."

"While the vast majority of America's philanthropic heavyweights choose to address traditional and tangible social needs — feeding the hungry, curing the sick, subsidizing the arts — Templeton has something else in mind. He wants to make an impact on the world of ideas. Templeton's controversial goal: to reconcile the worlds of science and religion. … When he hears scientists quarrel with believers, he thinks both sides are missing the broader point. "What I'm trying to do is say: 'Don't try to argue — maybe you're both right'...""

"Those who spend too much will eventually be owned by those who are thrifty."

"Work at being a humble person."

"We may find the Divine to be 3,000 times what we think it is now. It's like asking the tulip there to explain you. The tulip is a beautiful creation, with millions of atoms cooperating with each other to produce great beauty, but ask that tulip to talk about you, and it can't do it. It doesn't have those perceptive abilities. Wouldn't it be conceited to suggest that I had the abilities to describe the deity?"

"We hope that there will be nothing that conflicts with anybody's religion or faith. We would never say a person's religion is not effective. We say, "Would you be interested in something more effective?" We always put things in an optimistic, progressive perspective. Do you want to make your prayers more effective? Not that they are not effective, but do you want to help them become more effective?"

"The question is not is there a God, but is there anything else except God? God is everyone and each of us is a little bit."