Stanford University Alumni

"The 'name' of a resource indicates what we seek, an 'address' indicates where it is, and a 'route' tells us how to get there."

"People don't remember that Sigourney has been one of the first serious actors able to piece together a career that incorporated every aspect of the movie-making spectrum," Mr. Schamus says. "People thought that Bruce Willis had broken that ground in Pulp Fiction. Excuse me? She's been doing this all her life."

"I prefer not to have any image, or any one image," she says, now curled on a couch in a suite at the hotel and sheathed in black, one shoulder bared. "It's because I come from the theater originally. My dream, when I was a young actor, was to be in a repertory company, where you could play the maid in one piece and then play the leading lady in another, and go from comedy to drama and really hop all over the place. And I actually realized a long time ago that you can't expect anything to happen; you can't expect anyone else to know what you want, where you want to go next. So I guess what I'm always doing is trying to create this mini-rep company in my head."

"Quickly, in one glance, you begin to understand why, as a tall girl, she was called Amazon by her boarding-school classmates and why, as a beautiful girl, she resented it -- so much so that by her father's account, she went and changed her name from Susan to the more stylish Sigourney, lifting it from an F. Scott Fitzgerald story."

"Weaver has been struggling with forms of acceptance all her life. The daughter of British actress Elizabeth Inglis and former NBC president Sylvester (Pat) Weaver (he created both the "Today" and "Tonight" shows), Susan Weaver (she adopted the name Sigourney at age 14, from a character in "The Great Gatsby") was reared a child of privilege on Manhattan's upper East Side. But Weaver never felt entirely comfortable with her upbringing. She decided to do a 180 from her expected role in life: during her stay at Stanford University, where she majored in English, Weaver was part of a theater troupe that protested the Vietnam War. She also took to wearing an elf suit, and lived with her boyfriend in a tree house. "It was very natural," says Weaver. "I had a boyfriend, we both played the flute, we made our own clothes. We certainly didn't attract more attention than anyone else around us.""

"I would rather have stayed in the theater and done comedy. Comedy in film (was) so narrow for women. I was much happier doing very black comedy onstage, and I could never find anything of that ilk on film. The closest to what I might have accomplished was `Working Girl.'"

"It was never important to me to display my sexuality. I didn't feel like I had to prove I was a babe to anyone. So I think maybe I always took parts based on the story and director, and very rarely on what the character was. (The roles) I get offered (are) isolated women. . . . It is easier for them to see me as a woman on my own. I can have a token love story, but in the end I'm gonna be this strong woman. Maybe it's harder for them to see me in a couples situation."

"I changed my name when I was about twelve because I didn't like being called Sue or Susie. I felt I needed a longer name because I was so tall. So what happened? Now everyone calls me Sig or Siggy."

"I’d send out an intergalactic invitation to other species. I guarantee they would not be like the aliens in the movies I did. I think if they can get here, they could be charming. Stephen Hawking said aliens would be coming for our resources. Well, I don’t know what planet he’s talking about, we don’t have any resources to give them! We’re plundering our own planet. Unless garbage and plastic is something they need, in which case, we could work out a good deal."

"I had such great teachers in high school who made me feel like I could do anything. Then to go to Yale, where these drama teachers made me feel like shit—if I have any advice for young people, it would be, "Don't listen to teachers who say, 'You're really not good enough.' " Just teach me. Don't tell me if you think I'm good enough or not. I didn't ask you. Teachers who do that should be fired."

"(Ripley is) open, honest and tries to do the right thing. I've always played Ripley as an ordinary person who is in extraordinary circumstances, and doesn't give up. I'm not playing a strong feminist statement; I'm playing this woman who has no one else to rely on."

"With the `60s and the `70s, television gave people a real appetite for violence and slickness. And, for a long time, there was a reluctance to put women in that world. Now, we`ve sort of forced our way in-and I don`t think we`re going to leave."

"I guess I don`t think of film as an innovative medium. I guess I feel that film kind of caught up to what`s been happening to women for the last 20 years."

"I feel very complete about her. I think she`s more vulnerable. I think she is truly alone. It`s very interesting to play a character who is truly alone, especially a woman, because women are always seen in relation to men or to other woman. It was a very-not to put our audience off-but it was a very existential situation in many ways."

"There`s only so much bad luck that a person can have. For her to continue to wake up and con-front the alien and resolve the situation, then go back to sleep and wake up to yet another situation-to me, it`s a burden on the whole science-fiction premise of the alien."

"Things that people learn purely out of curiosity can have a revolutionary effect on human affairs."

"The trouble is that you won't get the scientists to agree on a course of action. It is almost instinctive in science to accept contrary views, because disagreeing gives you guidance to experimental tests of ideas — your own and those offered by others…."

"The nature of the chemical bond is the problem at the heart of all chemistry."

"It is better to have one seven-foot jumper on your team than any number of six-foot jumpers."

"I most enjoy helping to build something up, taking an unformulated enterprise and making it into what it could become."

"But in the 1950s, many universities saw an advantage in building up all of the sciences and engineering with an eye toward obtaining federal grant money. No single institution did this better than Stanford University. And no one person was more attuned to using federal grants to build a university than its dean of engineering and eventual provost, Frederick Terman. Dr. Terman, trained as an electrical engineer, was an aggressive man with insight and boundless energy. When he began as dean, Stanford University was considered a good private regional school. When he retired as provost, it was arguably the best university for research in the nation."

"Good physics can be done if we have a good shop. … Given a good shop and good measurement equipment a sound physicist can do wonderful work."

"What can we sell them? Not our soul."

"One of the most fertile and original men I have ever known. … He was a rare combination, almost unique, of a theoretical physicist and a thoroughly practical engineer."

"All you who sleep tonight Far from the ones you love, No hands to left or right, And emptiness above— Know that you aren’t alone. The whole world shares your tears, Some for two nights or one, And some for all their years."

"In portraying a domestic life constrained, disrupted, and transformed by civil violence, Seth draws on the nineteenth-century historical novels of Scott, Alessandro Manzoni, Theodore Fontane, and Leo Tolstoy."

"The diversity and range of Seth's work makes him somewhat of an enigma. However, for a writer who counts such diverse figures as Pushkin, T'ang dynasty Chinese poets, Chaucer, the Elizabethans, Tennyson, novelists like Hardy, Austen, George Eliot, R. K. Narayan, and modern poets like Timothy Steele and Philip Larkin among some of his literary influences, Seth's wide-ranging technique is conceivably not so surprising."

"Like Midnight's Children, however, A Suitable Boy too is steeped in an awareness of and affection for indigenous literary and cultural traditions, most notably Urdu poetry, Hindustani classical music, the performed Ramayana, the Ramlila, Shia marsiyas or lamentations, Tagore's songs ('Rabindra Sangeet'), and, of course, Hindi cinema."

"In A Suitable Boy, Seth's traditionalism allows him to rediscover character. Mrs Rupa Mehra becomes too substantial, too vivid a presence to be confined within a novel: she is at once infuriating and endearing, a benevolent Indian version of Mrs Bennet in Pride and Prejudice, a comparison that Seth is typically careful to suggest by equipping her daughter with a Jane Austen novel to read on a train."

"A Suitable Boy (which burlesques poetic pretensions) reads like the offspring of an unlikely mating of Jane Austen and Leo Tolstoy, with its father's looks and mother's temperament."

"Vikram Seth's book A Suitable Boy (1993) that made history as a publishing phenomenon heralded the change from an economist-poet to a full-time writer, making millions in pounds. The media dwelt on its 700,000 words and 1,349 pages, the longest novel published in England since Richardson's Clarissa (1744-48) and longer than Tolstoy's War and Peace (1865-69) — and on Seth's advance of more than 2 million pounds. More relevant are the artistic comparisons made to Jane Austen, George Eliot, Tolstoy and Dickens."

"He writes with the omniscience and authority of a large, orderly committee of experts on Indian politics, law, medicine, crowd psychology, urban and rural social customs, dress, cuisine, horticulture, funerary rites, cricket and even the technicalities of shoe manufacture."

"How ugly babies are! How heedless Of all else than their bulging selves— Like sumo wrestlers, plush with needless Kneadable flesh-like mutant elves, Plump and vindictively nocturnal, With lungs determined and infernal (A pity that the blubbering blobs Come unequipped with volume knobs)."

"Ten hostages is terrorism; A million, and it's strategy. To ban books is fanaticism; To threaten in totality All culture and all civilization, All humankind and all creation, This is a task of decorous skill And needs high statesmanship and will."

"Killing is dying. This equation Carries no mystical import. It is the literal truth. Our nation Has long believed war was a sport. Unoccupied, unbombed, undying, While 'over there' the shells were flying, How could we know the Russian dread Of war, the mountains of their dead? We reveled in acceleration At every level of the race; And even now we're face to face With mutual extermination We talk as blithely as before Of 'surgical strikes' and 'limited war.'"

"Workers of Lungless Labs—when dying Will you be proud you were midwife To implements exemplifying Assault against the heart of life? If you had scruples, you betrayed them. What pastoral response acquits Those who made ovens for Auschwitz? You knew their purpose, yet you made them. Indeed, it's said that the banality Of evil is its greatest shock. It jokes, it punches its time clock, Plays with its kids. The triviality Of slaughtering millions can't impinge Upon its peace, or make it cringe."

"Catholic and Episcopalian, Lutheran, Baptist, Methodist, Jew, Muslim, Buddhist, atheist, We are all here; no one is alien Now radiation's common laws Impel us into common cause."

"They go to work, attend a meeting, Write an equation, have a beer, Hail colleagues with a cheerful greeting, Are conscientious, sane, sincere, Rational, able, and fastidious. Through hardened casings no invidious Tapeworm of doubt, no guilt, no qualm Pierces to sabotage their calm. When something's technically attractive, You follow the conception through, That's all. What if you leave a slew Of living dead, of radioactive "Collateral damage" in its wake? It's just a job, for heaven's sake."

"In life's brief game to be a winner A man must have...oh yes, above All else, of course, someone to love."

"What is the difference between my life and my love? One gets me low, the other lets me go."

"Is it not love that knows how to make smooth things rough and rough things smooth?"

"[T]hink of many things. Never place your happiness in one person’s power. Be just to yourself."

"'You too will marry a boy I choose,' said Mrs Rupa Mehra firmly to her younger daughter. Lata avoided the maternal imperative by looking around the great lamp-lit garden of Prem Nivas. The wedding-guests were gathered on the lawn. 'Hmm,' she said. This annoyed her mother further."

"Imagining the flower-pot attacked it The kitten flung the violets near and far And yet, who knows? This morning, as I backed it, My car was set upon by a parked car."

"Some men like Jack and some like Jill I'm glad I like them both but still I wonder if this freewheeling Really is an enlightened thing, Or is its greater scope a sign Of deviance from some party line? In the strict ranks of Gay and Straight What is my status: Stray? Or Great?"

"India and China offer intriguing mirror images. Modern India has long been open politically and, until recently, closed economically. Modern China has opened economically, but remains politically closed. The comparison reveals that, while politics and economics can never fully be separated, political openness is a better guarantor of long-term stability than economic openness."

"New York used to be the financial capital of the world. It's no longer even the financial capital of the U.S. For the moment, Washington is."

"The free market tide has now receded. In its place has come state capitalism, a system in which the state functions as the leading economic actor and uses markets primarily for political gain."

"The great thing about the U.S. economy right now is that we are the smart kids in the stupid-kid class. America has fiscal problems and gridlock issues and polarity and partisanship in Congress -- and yet, compared to Japan and Europe, the U.S. looks great."

"State capitalism is about more than emergency government spending, implementation of more intelligent regulation, or a stronger social safety net. It’s about state dominance of economic activity for political gain."