Recalls Quotes

Authors: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Categories: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Loftus grew up with a cold father who taught her nothing about love but everything about angles. A mathematician, he showed her the beauty of the triangle's strong tip, the circumference of the circle, the rigorous mission of calculus. Her mother was softer, more dramatic, prone to deep depressions. Loftus tells all this to me with little feeling "I have no feelings about this right now, " she says, "but when I'm in the right space I could cry." I somehow don't believe her; she seems so far from real tears, from the original griefs, so immersed in the immersed in the operas of others. Loftus recalls her father asking her out to see a play, and in the car, coming home at night, the moon hanging above them like a stopwatch, tick tick, her father saying to her, "You know, there's something wrong with your mother. She'll never be well again. Her father was right. When Loftus was fourteen, her mother drowned in the family swimming pool. She was found floating face down in the deep end, in the summer. The sun was just coming up, the sky a mess of reds and bruise. Loftus recalls the shock, the siren, an oxygen mask clamped over her mouth as she screamed, "Mother mother mother, " hysteria. That is a kind of drowning. "I loved her, " Loftus says. "Was it suicide?" I ask. She says, "My father thinks so. Every year when I go home for Christmas, my brothers and I think about it, but we'll never know, " she says. Then she says, "It doesn't matter." "What doesn't matter?" I ask. "Whether it was or it wasn't, " she says. "It doesn't matter because it's all going to be okay." Then I hear nothing on the line but some static. on the line but some static. "You there?" I say. "Oh I'm here, " she says. "Tomorrow I'm going to Chicago, some guy on death row, I'm gonna save him. I gotta I gotta testify. Thank God I have my work, " she says. "You've always had your work, " I say. "Without it, " she says, "Where would I be?

Lauren Slater
Google and Apple offer the image of a pseudo-commons to Internet users. That image recalls Nick Dyer-Whiteford's claim that, in light of the structural failures of neoliberal policies, capital could "turn to a 'Plan B', in which limited versions of commons, pollution trading schemes, community development and open-source and file-sharing practices are introduced as subordinate aspects of a capitalist economy, where voluntary cooperation subsidizes profit. One can think here of how Web 2.0 re-appropriates many of the innovations of radical digital activists, and converts them into a source of rent." Indeed, with the rise of the trademarked Digital Commons software platform and with the proliferation of university-based digital and media commons (which are typically limited to fee-paying and/or employed university community members), the very concept of the digital commons appears to be one of these reappropriations. But if, as part of what James Boyle describes as the "Second Closure Movement, " this very rhetorical move signals the temporary defeats of the after-globalization and radical hacker movements that claimed the language of the commons, perhaps the advocacy for ownership of digital wares (or at least a form of unalienable, absolute possession, whether individual or communal) would provide a strategic ballast against the proprietary control of large swathes of information by apparently benevolent corporations and institutions. While still dangling in mid-air, the information commodity's consumption might thereby be placed more solidly on common ground.

Sumanth Gopinath
Pettiness often leads both to error and to the digging of a trap for oneself. Wondering (which I am sure he didn't) 'if by the 1990s [Hitchens] was morphing into someone I didn't quite recognize', Blumenthal recalls with horror the night that I 'gave' a farewell party for Martin Walker of the Guardian, and then didn't attend it because I wanted to be on television instead. This is easy: Martin had asked to use the fine lobby of my building for a farewell bash, and I'd set it up. People have quite often asked me to do that. My wife did the honors after Nightline told me that I'd have to come to New York if I wanted to abuse Mother Teresa and Princess Diana on the same show. Of all the people I know, Martin Walker and Sidney Blumenthal would have been the top two in recognizing that journalism and argument come first, and that there can be no hard feelings about it. How do I know this? Well, I have known Martin since Oxford. (He produced a book on Clinton, published in America as 'The President We Deserve'. He reprinted it in London, under the title, 'The President They Deserve'. I doffed my hat to that.) While Sidney-I can barely believe I am telling you this-once also solicited an invitation to hold his book party at my home. A few days later he called me back, to tell me that Martin Peretz, owner of the New Republic, had insisted on giving the party instead. I said, fine, no bones broken; no caterers ordered as yet. 'I don't think you quite get it, ' he went on, after an honorable pause. 'That means you can't come to the party at all.' I knew that about my old foe Peretz: I didn't then know I knew it about Blumenthal. I also thought that it was just within the limit of the rules. I ask you to believe that I had buried this memory until this book came out, but also to believe that I won't be slandered and won't refrain-if motives or conduct are in question-from speculating about them in my turn.

Christopher Hitchens
The ruinous deeds of the ravaging foe (Beowulf) The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it. It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality... . Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, and of the need to resolve and bring to fruition a proper human order, against the enemy - whatever it be - here symbolised by a monster and a dragon, among literature's earliest 'outsiders'... Beowulf has always attracted readers, and perhaps never more than in the 1990s when at least two major poets, the Scot Edwin Morgan and the Irishman Seamus Heaney, retranslated it into modern English. Heaney's version became a worldwide bestseller, and won many awards, taking one of the earliest texts of English literature to a vast new audience.

Ronald Carter
Seven years ago tonight, every dream I ever had came true. That's not something too many men get to claim. I'm very lucky, blessed, whichever you believe. Probably a lot of both. Tonight marks the anniversay of my debut performance at Caesars Palace." On his cue, the crowd whipped into congratulatory rapture. Blindsided by his recollection, Isabel was motionless. That's what he recalls happening on this date? "Indulgent, lazy, self-centered... jerk!" she said, grabbing her purse, thinking she'd climb over the seat. "I'm going home!" Before she could turn, hoisting herself over, a spotlight landed on her. In the darkened arena Aidan and Isabel were face-to-face. He stared. The same way he did years ago in his pickup truck, holding tight to her wrist, the same way he did on the dance floor at the gala. The same way he did the moment she left him. "If you can believe it, " he said, still staring, "something even more improtant happened that day. As dreams of fame and fortune go, this topped everything. I've always known that." Then, in a softer voice: "And I'm a fool because I should have never given up." Even from her vantage point, Isabel could see the gulp roll through his throat. "It's my great privilege this evening to introduce my wife, Isabel Royce." He gestured to the box. Isabel responded by sinking to her seat. "What's he talking about?" she hissed to Mary Louise. "We're divorced!" From her right, Tanya nudged her. It was like being on a palace balcony, Isabel offering a deer-in-the-headlights wave to the subjects, a thoroughly baffled look at Aidan. In return, he smiled at her clear confusion. "My wife... " "Why is he calling me that?" There was a mixed reaction, lots of gasps, some applause, and the disappointed groans of female fans. "She's done me the tremendous honor of making a rare appearance at one of my shows. Seven years ago, she agreed to marry me. At the time, my life was more trouble than promise. We were just two scared kids who had nothing but each other. Really, it was all I needed. We were married in true Vegas fashion." Hoots and hollers echoed, his glance dropping to the stage floor. Sharing this was making the performer uncomfortable. He pushed on. "While most women would have been satisfied with a ring... " His long fingers fluttered over the snake. "This was Isabel's idea of a permanent bond." It drew a wave of subtle laughter, Isabel included "Do you remember how the story went?" he said, speaking only to Isabel in a crow of thousands. "As long as I had it, I'd never be without you. Turns out, it wasn't a story, it was the absolute truth. Lately though, " he said, turning back to his public narrative, "circumstance, some serious, some calculated, has prevented me from getting my wife's attention. So tonight I resorted to an old performer's trick, a captive audience. I planned this moment, Isabel, knowing you'd be here. Regardless of anything you may believe, I meant what I said on our wedding night, in the moment I said it. I love you. I always have.

Laura Spinella
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