Bogart Quotes

If you want me, just whistle. You know how to whistle, don't you, Steve? You just put your lips together and blow." (as Marie 'Slim' Browning in To Have and Have Not)

It was the kind of town that made you feel like Humphrey Bogart: you came in on a bumpy little plane, and, for some mysterious reason, got a private room with balcony overlooking the town and the harbor; then you sat there and drank until something happened.

I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.

When you're a writer, the question people always ask you is, "Where do you get your ideas?" Writers hate this question. It's like asking Humphrey Bogart in The African Queen, "Where do you get your leeches?" You don't get ideas. Ideas get you.

The trouble with the world is that it's always one drink behind.

You cannot create results. You can only create conditions in which something might happen.

Things are never so bad they can't be made worse.

There was no way his imagination could feel the impact of the whole Earth having gone, it was too big. He prodded his feelings by thinking that his parent and his sister had gone. No reaction.He thought of all the people he had been close to. No reaction. Then he thought of a complete stranger he had been standing behind in the queue at the supermarket two days before and felt a sudden stab: the supermarket was gone, everyone in it was gone! Nelson’s Column had gone! and there would be no outcry, because there was no one left to make an outcry! From now on Nelson’s Column only existed in his mind. England only existed in his mind. A wave of claustrophobia closed in on him. He tried again: America, he thought, has gone. He couldn’t grasp it, He decided to start smaller again. New York has gone. No reaction. He’d never seriously believed it existed anyway. The dollar, he thought, has sunk for ever. Slight tremor there. Every “Bogart” movie has been wiped, he said to himself, and that gave him a nasty knock. McDonald’s, he thought. There is no longer any such thing as a McDonald’s hamburger. He passed out.

Live dangerously. There's a lot to be said for sinning.

The problem with the world is that everyone is a few drinks behind.

I should never have switched from Scotch to Martinis.

"The whole world is three drinks behind. If everyone in the world would take three drinks, we would have no trouble. If Stalin, Truman and everybody else in the world had three drinks right now, we’d all loosen up and we wouldn’t need the United Nations.

A hotdog at the ballgame beats roast beef at the Ritz

I dont mind a reasonable amount of trouble

What future is there for a female child who aspires to being Humpfrey Bogart?

It worries me that I can be so explosive one day -- volatile enough to commit a murder-suicide -- and then the next day I'm watching Bogart save the day with Walt, like nothing happened at all, and nothing is urgent, and I really don't have to do anything to set the world right or escape my own mind. I'd like to feel okay all the time -- to have the ability to sit and function without feeling so much pressure, without feeling as though blood is going to spurt from my eyes and fingers and toes if I don't do something.

Heaven to be the first one up and to eat breakfast all alone.

Hey, Bogart. You and the wonder twins back off or the bedsheet gets it." Harry Dresden, Death Masks.

I watched as Humphrey Bogart’s character used beans as a metaphor for the relative unimportance in the wider world of his relationship with Ingrid Bergman’s character, and chose logic and decency ahead of his selfish emotional desires. The quandary and resulting decision made for an engrossing film. But this was not what people cried about. They were in love and could not be together. I repeated this statement to myself, trying to force an emotional reaction. I couldn’t. I didn’t care. I had enough problems of my own.

The only good reason to have money is this: so that you can tell any SOB in the world to go to hell.

To put it simply: There was no bunk about Bogie. He was a man.

the problems of three little people in a big world don't add up to much

[Lauren Bacall] and Bogie seemed to have the most enormous opinion of each other's charms, and when they fought it was with the utter confidence of two cats locked deliciously in the same cage.

At thirteen desperately watching TV, curling my long legs under me, desperately reading books, callow adolescent that I was, trying (desperately!) to find someone in books, in movies, in life, in history, to tell me it was O.K. to be ambitious, O.K. to be loud, O.K. to be Humphrey Bogart (smart and rudeness), O.K. to be James Bond (arrogance), O.K. to be Superman (power), O.K. to be Douglas Fairbanks (swashbuckling), to tell me self-love was all right, to tell me I could love God and Art and Myself better than anything on earth and still have orgasms.

How wonderful are the women and men in the world who feed us. Especially those who feed us with no salary. The mothers—I thought. The wives.

Most of the truly remarkable experiences I've had in theatre have filled me with uncertainty and disorientation

Dear God in Heaven, I've been a good woman. When I die, all I want is Humphrey Bogart and Matt Damon feeding me grapes, all day long.

Artists and scientists are activists. They look at the world as changeable and they look upon themselves as instruments for change. They understand that the slice of world they occupy is only a fragment but that the fragment is intrinsically connected to the whole. They know that action matters.

I’m told that Sherlock Holmes never said, “Elementary, my dear Watson” (at least in the Arthur Conan Doyle books) Jimmy Cagney never said, “You dirty rat”; and Humphrey Bogart never said, “Play it again, Sam.” But they might as well have, because these apocrypha have firmly insinuated themselves into popular culture.

Writers of fiction embellish reality almost without knowing it.

You're a good man, sister

This could be the start of a beautiful friendship." - Claude Rains to Humphrey Bogart - Casablanca

The key to a successful education is not remembering the sequence of battles in World War I or getting an A on the geometry test. A robust education is the ability to make meaningful use of any and all information.

I write myself into existence by the stories that I tell about my life. I also write with my posture and with my manner of walking and speaking, and I write with words and with my actions.

Acting is like sex: you either do it and don't talk about it, or you talk about it and don't do it.

A talent for speaking differently, rather than for arguing well, is the chief instrument of cultural change. (Richard Rorty, philosopher)

If homeschooling stops being a source of joy, begin by shifting your attention to the awesome adult you want to be. Just that shift can inject energy into a flagging homeschool.

Connect to your children. The academics matter, but they follow. Your children’s happiness and safe, supportive relationship with you come first. Believe it or not, your children are happiest when they believe you are delighted by them.

best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

My job is to transcend my own agenda in order to see the wider context and my job is to cultivate the kind of spaciousness where permission is possible. I try to create the room in which everyone is both participating and responsible.

Speaking a story can be an act of letting in light.

In the theater, the attitude of righteous ownership deprives the audience of an encounter with the unfamiliar.

Merrill Krause - You mentioned God's will for me. How will I know what that is, Father? Bogart Krause - I've always believed it to start with prayer. The Good Book says that if a man wants wisdom, he just has to ask. I would imagine it works the same way for womenfolk. If you want to know what God's plan is -- then I would ask Him. Couldn't hurt to search the Scriptures, too. And listen to what He is telling you inside. Even when you don't think you're hearing anything, keep listening.

Double Indemnity, Gaslight, Saboteur, The Big Clock . . . We lived in monochrome those nights. For me, it was a chance to revisit old friends; for Ed, it was an opportunity to make new ones. And we’d make lists. The Thin Man franchise, ranked from best (the original) to worst (Song of the Thin Man). Top movies from the bumper crop of 1944. Joseph Cotten’s finest moments. I can do lists on my own, of course. For instance: best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

Lilies used to be a movie theatre, before. Students went there a lot; every spring they had a Humphrey Bogart festival, with Lauren Bacall or Katherine Hepburn, women on their own, making up their minds. They wore blouses with buttons down the front that suggested the possibilities of the word 'undone'. These women could not be undone; or not. They seemed to be able to choose.

The art experience and the theater experience, gyms for the soul, generate heat and exercise the imagination, empathy, creative thinking, patience and tolerance. A gym for the soul is a place where personal investment is required and the return is real.

She had so painfully reared three sons to be Christian gentlemen that one of them had become an Omaha bartender, one a professor of Greek, and one, Cyrus N. Bogart, a boy of fourteen who was still at home, the most brazen member of the toughest gang in Boytown.

But innovation and invention do not only happen with smart people who have all of the answers. Innovation results from trial and error. The task is to make good mistakes, good errors, in the right direction.

And it is this search for meaning that keeps us from living in fear. The key to a healthy life is not to be alone, to breathe the same air with others, to share the sensation of living through moments together.

You've completely forgotten what it takes to raise a child, Mr. Bogart. And this girl is traumatized -- she misses her mother, she's been pulled away from everything she knows, her family, her friends, her school, her community, her language. Can you imagine what that must be like?

England no longer existed. He’d got that—somehow he’d got it. He tried again. America, he thought, has gone. He couldn’t grasp it. He decided to start smaller again. New York has gone. No reaction. He’d never seriously believed it existed anyway. The dollar, he thought, has sunk for ever. Slight tremor there. Every Bogart movie has been wiped, he said to himself, and that gave him a nasty knock. McDonald’s, he thought. There is no longer any such thing as a McDonald’s hamburger. He passed out. When he came round a second later he found he was sobbing for his mother. He

As students of the silver screen recall, Bogart's admonition about future regret led Bergman to board the plane and fly away with her husband. Had she stayed with Bogey in Casablanca, she would probably have felt just fine. Not right away, perhaps, but soon, and for the rest of her life.

The night in question, I had put aside my perpetual lavatory read, The Decline and Fall of the Roman Empire, because of all the manuscripts (inedible green tomatoes) submitted to Cavendish-Redux, my new stable of champions. I suppose it was about eleven o'clock when I heard my front door being interfered with. Skinhead munchkins mug-or-treating? Cherry knockers? The wind? Next thing I knew, the door flew in off its ruddy hinges! I was thinking al-Queda, I was thinking ball lightning, but no. Down the hallway tramped what seemed like an entire rugby team, though the intruders numbered only three. (You'll notice, I am always attacked in threes.) "Timothy," pronounced the gargoyliest, "Cavendish, I presume. Caught with your cacks down." "My business hours are eleven to two, gentlemen," Bogart would have said, "with a three-hour break for lunch. Kindly leave." All I could do was blurt, "Oy! My door! My ruddy door!

We are debris arrangers. Equipped with what we have inherited, we try to make a life, make a living and make art. We are assemblers. We forge received parts into meaningful compositions. This state of affairs is our plight and our destiny, but it also offers the opportunity to find meaning as well as to find communion with others.

The country is like a great sponge—it finally absorbs you. Eventually you will get malaria or you will get dysentery and whatever you do, if you don't keep doing it, the jungle will grow over you. Black or white, you've got to fight it every minute of the day.

Let’s get one thing straight. Homeschooling is messy. The more kids you have, the messier it is.

Katharine Hepburn said it best. ‘Nature’, she says majestically to Humphrey Bogart in The African Queen, ‘is what we are put in this world to rise above.’ The

Dr. Bogart was about to tell me more when William de la Touche Clancey sat down next to me with an insolent crash (do I resemble a country youth because I am small?)

Goodbye Kid. Hurry back. – Humphrey Bogart, last words to Lauren Bacall as she briefly left his bedside before his death.

Deep practice is slow, demanding and uncomfortable. To practice deeply is to live deliberately in a space that is uncomfortable but with the encouraging sense that progress can happen.

Isaiah and Beth sit on the bed and munch on a shared container of pepper steak. “Stop bogarting the rice.” Isaiah moves some of the pile from Beth’s side of the container, and she darts her fork as if to stab him, but he quickly snatches his hand back. “You got the egg roll,” exclaims Beth. “I get the rice. That’s how stuff works between us, so stop messing with the system.

Learning is not only tied to reading thick old books, writing serious academic essays, and advancing in mathematics. Today, it’s just as critical to be innovative, to collaborate, and to imagine.

(The subject of Peter Gallagher’s eyebrows, I realize, is a digression away from the Oneida Community, and yet, I do feel compelled, indeed almost conspiracy theoretically bound to mention that one of the reasons the Oneida Community broke up and turned itself into a corporate teapot factory is that a faction within the group, led by a lawyer named James William Towner, was miffed that the community’s most esteemed elders were bogarting the teenage virgins and left in a huff for none other than Orange County, California, where Towner helped organize the Orange County government, became a judge, and picked the spot where the Santa Ana courthouse would be built, a courthouse where, it is reasonable to assume, Peter Gallagher’s attorney on The O.C. might defend his clients.)

A lifestyle of learning begins at home - with parents who create a context that is welcoming of children as they are and that offers them happy experiences, accessible tools, and parental involvement.

Every creative act involves a leap into the void. The leap has to occur at the right moment and yet the time for the leap is never prescribed. In the midst of a leap, there are no guarantees. To leap can often cause acute embarrassment. Embarrassment is a partner in the creative act—a key collaborator.

Limits are a necessary partner in the creative act as well as in the crafting of a successful life. What matters is the ability to look around and accurately recognize what is working for you and what is working against you, adjusting to the realities of the situation and mining the potential of the limits with invention and energy.

George Williams, the revered evolutionary biologist, describes the natural world as “grossly immoral.” Having no foresight or compassion, natural selection “can honestly be described as a process for maximizing short-sighted selfishness.” On top of all the miseries inflicted by predators and parasites, the members of a species show no pity to their own kind. Infanticide, siblicide, and rape can be observed in many kinds of animals; infidelity is common even in so-called pair-bonded species; cannibalism can be expected in all species that are not strict vegetarians; death from fighting is more common in most animal species than it is in the most violent American cities. Commenting on how biologists used to describe the killing of starving deer by mountain lions as an act of mercy, Williams wrote: “The simple facts are that both predation and starvation are painful prospects for deer, and that the lion's lot is no more enviable. Perhaps biology would have been able to mature more rapidly in a culture not dominated by Judeo-Christian theology and the Romantic tradition. It might have been well served by the First Holy Truth from [Buddha's] Sermon at Benares: “Birth is painful, old age is painful, sickness is painful, death is painful...”” As soon as we recognize that there is nothing morally commendable about the products of evolution, we can describe human psychology honestly, without the fear that identifying a “natural” trait is the same as condoning it. As Katharine Hepburn says to Humphrey Bogart in The African Queen, “Nature, Mr. Allnut, is what we are put in this world to rise above.

Because people are innately social and in search of meaning, our relationships and emotions—not rote memory or the right textbooks—are key to learning. In other words, when your child feels connected and happy, your child is learning the most.

she made it clear that artists and audiences need to find the inner capacity to meet an event with spaciousness and a sense of possibility. Both life and art can prepare us for the openness that we need to bring ourselves to the unfolding moment.

When I first read The Rebel, this splendid line came leaping from the page like a dolphin from a wave. I memorized it instantly, and from then on Camus was my man. I wanted to write like that, in a prose that sang like poetry. I wanted to look like him. I wanted to wear a Bogart-style trench coat with the collar turned up, have an untipped Gauloise dangling from my lower lip, and die romantically in a car crash. At the time, the crash had only just happened. The wheels of the wrecked Facel Vega were practically still spinning, and at Sydney University I knew exiled French students, spiritually scarred by service in Indochina, who had met Camus in Paris: one of them claimed to have shared a girl with him. Later on, in London, I was able to arrange the trench coat and the Gauloise, although I decided to forgo the car crash until a more propitious moment. Much later, long after having realized that smoking French cigarettes was just an expensive way of inhaling nationalized industrial waste, I learned from Olivier Todd's excellent biography of Camus that the trench coat had been a gift from Arthur Koestler's wife and that the Bogart connection had been, as the academics say, no accident. Camus had wanted to look like Bogart, and Mrs. Koestler knew where to get the kit. Camus was a bit of an actor--he though, in fact, that he was a lot of an actor, although his histrionic talent was the weakest item of his theatrical equipment--and, being a bit of an actor, he was preoccupied by questions of authenticity, as truly authentic people seldom are. But under the posturing agonies about authenticity there was something better than authentic: there was something genuine. He was genuinely poetic. Being that, he could apply two tests simultaneously to his own language: the test of expressiveness, and the test of truth to life. To put it another way, he couldn't not apply them.

If what Picasso proposed is true, that the first stroke on the canvas is always a mistake, it is best to get on with the mistake, without delay, earlier rather than later. Write one sentence, make one choice or point at something and say “Yes.” And then, as the process unfolds, and as long as I keep at it and stay attentive and resolute, making adjustments to each mistake, things eventually fall into place.

Jamie popped a handful of Skittles into his bottle of Grolsch. He took a swig and savoured the tangy sweets shrinking in his mouth. He glanced up at the pictures on the pub wall: Alexander Graham Bell, Busby the bird and Sam Spade. The picture of Bogart made Jamie want to put a fag in his mouth

Funny the things which civilization has to offer when one misses. Flooring is a lovely thing. Gives one confidence. During my five weeks' occupancy the mud floor stayed wet in spite of great care on my part not to slop the water again. It never did properly dry, because the hut was necessarily dark. No direct sun came in, and the humidity was so terrific that even in direct sunlight nothing ever dried out. Curious to live on a slippery surface. A floor is a very important item.

You’d think that they’d at least teach you the basics,” Sherry said, feeling aggrieved with the Catholic Church all over again. As if there weren’t enough wrong with them, they had to bogart all the anti-demon trainings. At the moment she’d give almost anything for a nice, modern, Unitarian Universalist exorcist. The Unitarian exorcist would probably be a Montessori school administrator with a master’s degree in social work with a focus in cross-cultural sensitivity in evil-spirit extraction. “You don’t have to be a doctor of demonology, but they could at least have given you the hour-long CPR certification course version, just in case there’s an emergency.

Let me illustrate. This morning I had a fresh mango for breakfast: a large, beautiful, fragrant one which had been allowed to ripen until just the right moment, when the skin was luminous with reds and oranges. You can see from that kind of description that I like mangoes. I must have eaten thousands of them when I was growing up, and I probably know most varieties intimately by their color, shape, flavor, fragrance, and feel. Sankhya would say that this mango I appreciated so much does not exist in the world outside – at least, not with the qualities I ascribed to it. The mango-in-itself, for example, is not red and orange; these are categories of a nervous system that can deal only with a narrow range of radiant energy. My dog Bogart would not see a luscious red and orange mango. He would see some gray mass with no distinguishing features, much less interesting to him than a piece of buttered toast. But my mind takes in messages from five senses and fits them into a precise mango-form in consciousness, and that form – nothing outside – is what I experience. Not that there is no “real” mango! But what I experience, the objects of my sense perception and my “knowing,” are in consciousness, nowhere else. A brilliant neuroscientist I was reading recently says something similar in contemporary language: we never really encounter the world; all we experience is our own nervous system.

Of all the gin joints in the world, she had to walk into mine Casablanca

Life, every now and then, behaves as though it had seen too many bad movies, when everything fits too well - the beginning, the middle, the end - from fade-in to fade-out.

To make any relationship work we need patience, ceaseless striving to communicate more clearly with one another, and tolerance of imperfections.

To have a more effective home education, I realized I needed to abandon the trappings of school and harness the energy of home.

A child will risk telling you her desires if she believes you're a receptive audience. She'll conceal them if she doubts your support.

What is most important and valuable about the home as a base for children’s growth into the world is not that it is a better school than the schools, but that it isn’t a school at all. —JOHN HOLT

“Do you have any money?” he asked. “What?” He rubbed his fingers together. “Dinero? Cash? Do you have any on you?” Unsure where this was headed, I shook my head. He reached over the counter and grabbed a knife. He cut the burger in half and slid the plate between us. “Here. Don’t bogart the fries.” “Are you serious?” Noah took another bite of his half. “Yeah. Don’t want my tutor to starve to death.” I smacked my lips like a cartoon character and bit into the succulent burger. When the juicy meat touched my tongue, I closed my eyes and moaned. “I thought girls only looked like that when they orgasmed.” The burger caught in my throat and I choked. Noah stifled a laugh while sliding my water toward me. If only drinking it would erase the annoying blush on my cheeks.

If we believe that education is unique for each child, we can relax into whatever time it takes to learn rather than flipping out when our kids don’t line up with what Becky’s children are doing down the street.

If you send a child to therapy before you've been for yourself, the child rightly discerns that you consider the child the problem. If, however, you've used therapy in your life before asking your child to go, she learns that therapy is a natural choice for people who want to live conscious, healthy lives. Therapy is good emotional and mental hygiene - just as teeth cleanings and going to the gym are good for physical health. Nothing to be ashamed of!

Let’s assume that we have a set number of days to indent the world with our beliefs, to find and create the beauty that only a finite existence allows for, to wrestle with the question of purpose and wrestle with our answers. (Jonathan Safran Foer, novelist)

A happy house for homeschool is one where every inch is used for learning, messes are welcomed, people are more precious than furnishings, and household maintenance is a varying standard with fluctuating amounts of help, and we’re all okay with it most of the time.

Hemingway'den beklenilen her şeyden biraz var bu kitapta. Acı, sefalet, gerçek bir adamın portresi. Hollywood'un Bogart sinematografisine yakışan bir senaryo. Aynı adlı bir film de varmış. Kitap bize şaşaalı yaşamın ucuz hayatlarından ve gerçek bi hikâyenin zor kazanılan bir hayatın zengin sermayesi olduğu karşılaştırmasını gösteriyor. Renkli karakterler, coşkun eylemler, bayağı entrikalar, kan, ter ve yalnızlık üzerine ters köşe bir kapanış. Ve bunları sade bir mermi sürülmüş tabancayı okuyucuya doğrultan bir efsanenin kitabı.

Books (offline, not on digital devices) are best for training our kids to be deep readers. Critically thinking about the content of what they read can only come after that immersive, slower-moving, undistracting experience. Naturally, reading proficiency is key here.

Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment. Now, movies that postdate Hitch: The Vanishing, with its sucker-punch finale. Frantic, Polanski’s ode to the master. Side Effects, which begins as a Big Pharma screed before slithering like an eel into another genre altogether. Okay. Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

His consolation prize was a hat. A battered fedora that looked as if it had blown off of Humphrey Bogart during the filming of Key Largo. Sucked up into the atmosphere during the movie’s hurricane, it had ended up here, on the other side of the world, sixty years later. On his head. Even though it had been enshrined in a closet inside the house, it kind of smelled as if it had spent about three of those decades at the bottom of a birdcage. Yesiree. It was almost as fun to wear as the brown leather flight jacket. Which really wasn’t fair to the flight jacket. It was a gorgeously cared-for antique that didn’t smell at all. And it definitely worked for him, in terms of some of his flyboy fantasies. But the day had turned into a scorcher. It was just shy of a bazillion degrees in the shade. He needed mittens or perhaps a wool scarf to properly accessorize his impending heat stroke. “Today, playing the role of Indiana Jones, aka Grady Morant, is Jules Cassidy,” he said, as he slipped his arms into the sleeves. Was anyone really going to be fooled by this? Jones was so much taller than he was.

proposed an antidote to the deadening impact of capitalist spectacle in what he named “constructed situations,” which calls on artists to create moments that coax people out of passivity, rendering them the co-creators of what promises to be, according to Debord, a less mediocre life.

We worked so hard,” [Joan Blondell] said, “and hardly ever had a day off . . . Saturday was a working day and we usually worked right into Sunday morning.” Joan’s good nature may have worked against her in the long run. While fellow Warner Brothers workers Bette Davis, James Cagney, Olivia de Havilland and Humphrey Bogart fought like lions for better roles and more creative input, Joan took things in stride, at least through the early 1930s. “I just sailed through things, took the scripts I was given, did what I was told. I couldn’t afford to go on suspension—my family needed what I could make.

On some intuitive level, I knew that learning had to be more than the mastery of facts. I've experienced it as an adult. I become consumed with a subject like quilting or preparing yogurt cultures, and that topic takes over my life - fabric scraps scattered on the floor, little jars of white sludge cuddled by blankets on my kitchen countertops. When I learned to play guitar in my thirties, no one had to schedule my practices. My guitar lived on a stand in the living room and I tormented our ears multiple times a day until my fingers bled. Passion for learning has that fiery, consuming, can't-stop quality.

Blaine: (as Humphrey Bogart) TIME'S DIFFERENT HERE, SHWEETHEART. YOU MUST KNOW THAT BY NOW. BUT DON'T WORRY; THE FUNDAMENTAL THINGS APPLY AS TIME GOES BY. WOULD I LIE TO YOU? Jake: Yes. That apparently struck Blaine's funnybone, because he began to laugh again--the mad, mechanical laughter that made Susannah think of funhouses in sleazy amusement parks and roadside carnivals. When the lights began to pulse in sync with the laughter, she shut her eyes and put her hands over her ears. Susannah: STOP IT, BLAINE! STOP IT! Blaine: (as Jimmy Stewart) BEG PARDON, MA'AM. AH'M RIGHT SORRY IF I RUINT YOUR EARS WITH MY RISABILITY. Jake: (hoisting his middle finger) Run this.

Innovation is made possible by the width and breadth of a person’s rummaging around the world, in traffic with the living and the dead. It is by transgressing the boundaries that separate us that we begin to find solutions to the world’s present complexities because inclusion and incorporation of “the other” creates the conditions for innovation.

In an artistic sense, cool came to refer to someone with a signature artistic style so integral as to exude an authentic mode-of-being in the world: Miles, Bogart, Brando, Eastwood, Greco, Elvis, Lady Day, Sinatra. Such a person created something from nothing and gave the world some new artistic or psychological 'equipment for living,' to use a phrase of Kenneth Burke's. A signature style is yours and can only be carried by you: it cannot be abstracted except through dilution and commodification since it reflects an individual's complex personal experience. In this sense, cool was 'making a dollar out of fifteen cents,' to pull another phrase from the Africa-American vernacular. Lester Young was once at a bar when a tenor saxophone solo floated out of the jukebox. 'That's me,' he said happily. As he listened his mood collapsed - he realized it was one of his many imitators. 'No, that's not me,' he said sadly. To steal someone else's sound or style and capitalize on it has always been un-cool, the pretense of posers.

learned, too, that if you want to know the truth about a person you should look at his friendships. With his family, a man often acts out of guilt and a sense of responsibility. With women he might be trying too hard to impress, or he’s conniving so he can get laid. And with coworkers, if he wants to get ahead, he’s got to pretend to care about a lot of things that he doesn’t really care about. But with friends, well there’s nothing there but the friendship, and I think it is with his friends that a man ends up revealing who he really is.

It is a truth universally acknowledged that a child in possession of a good instructor must be in want of an education. Alas, kids don’t care. It’s impossible to demand inspiration, passion, or self-discipline without affinity for learning. Let me rephrase that: you can’t coerce caring. Adults try! We use grades, little statues, and ice cream sundaes to prod kids into reading, diagramming sentences, and practicing piano. Meanwhile that same child will stand in the hot sun for five hours shooting free throws to break a personal record. No reward except satisfaction. How do we get more of that into traditional school subjects?

In his book, Nothing Ever Dies: Vietnam and the Memory of War, Viet Thanh Nguyen writes that immigrant communities like San Jose or Little Saigon in Orange County are examples of purposeful forgetting through the promise of capitalism: “The more wealth minorities amass, the more property they buy, the more clout they accumulate, and the more visible they become, the more other Americans will positively recognize and remember them. Belonging would substitute for longing; membership would make up for disremembering.” One literal example of this lies in the very existence of San Francisco’s Chinatown. Chinese immigrants in California had battled severe anti-Chinese sentiment in the late 1800s. In 1871, eighteen Chinese immigrants were murdered and lynched in Los Angeles. In 1877, an “anti-Coolie” mob burned and ransacked San Francisco’s Chinatown, and murdered four Chinese men. SF’s Chinatown was dealt its final blow during the 1906 earthquake, when San Francisco fire departments dedicated their resources to wealthier areas and dynamited Chinatown in order to stop the fire’s spread. When it came time to rebuild, a local businessman named Look Tin Eli hired T. Paterson Ross, a Scottish architect who had never been to China, to rebuild the neighborhood. Ross drew inspiration from centuries-old photographs of China and ancient religious motifs. Fancy restaurants were built with elaborate teak furniture and ivory carvings, complete with burlesque shows with beautiful Asian women that were later depicted in the musical Flower Drum Song. The idea was to create an exoticized “Oriental Disneyland” which would draw in tourists, elevating the image of Chinese people in America. It worked. Celebrities like Humphrey Bogart, Lauren Bacall, Ronald Reagan and Bing Crosby started frequenting Chinatown’s restaurants and nightclubs. People went from seeing Chinese people as coolies who stole jobs to fetishizing them as alluring, mysterious foreigners. We paid a price for this safety, though—somewhere along the way, Chinese Americans’ self-identity was colored by this fetishized view. San Francisco’s Chinatown was the only image of China I had growing up. I was surprised to learn, in my early twenties, that roofs in China were not, in fact, covered with thick green tiles and dragons. I felt betrayed—as if I was tricked into forgetting myself. Which is why Do asks his students to collect family histories from their parents, in an effort to remember. His methodology is a clever one. “I encourage them and say, look, if you tell your parents that this is an academic project, you have to do it or you’re going to fail my class—then they’re more likely to cooperate. But simultaneously, also know that there are certain things they won’t talk about. But nevertheless, you can fill in the gaps.” He’ll even teach his students to ask distanced questions such as “How many people were on your boat when you left Vietnam? How many made it?” If there were one hundred and fifty at the beginning of the journey and fifty at the end, students may never fully know the specifics of their parents’ trauma but they can infer shadows of the grief they must hold.

As explained above, those who believe in the theory of evolution think that a few atoms and molecules thrown into a huge vat could produce thinking, reasoning professors and university students; such scientists as Einstein and Galileo; such artists as Humphrey Bogart, Frank Sinatra and Luciano Pavarotti; as well as antelopes, lemon trees, and carnations. Moreover, as the scientists and professors who believe in this nonsense are educated people, it is quite justifiable to speak of this theory as "the most potent spell in history." Never before has any other belief or idea so taken away peoples' powers of reason, refused to allow them to think intelligently and logically, and hidden the truth from them as if they had been blindfolded. This is an even worse and unbelievable blindness than the totem worship in some parts of Africa, the people of Saba worshipping the Sun, the tribe of Prophet Ibrahim (as) worshipping idols they had made with their own hands, or the people of Prophet Musa (as) worshipping the Golden Calf. In fact, Allah has pointed to this lack of reason in the Qur'an. In many verses, He reveals that some peoples' minds will be closed and that they will be powerless to see the truth. Some of these verses are as follows: As for those who do not believe, it makes no difference to them whether you warn them or do not warn them, they will not believe. Allah has sealed up their hearts and hearing and over their eyes is a blindfold. They will have a terrible punishment. (Surat al-Baqara, 6-7) … They have hearts with which they do not understand. They have eyes with which they do not see. They have ears with which they do not hear. Such people are like cattle. No, they are even further astray! They are the unaware. (Surat al-A‘raf, 179) Even if We opened up to them a door into heaven, and they spent the day ascending through it, they would only say: "Our eyesight is befuddled! Or rather we have been put under a spell!" (Surat al-Hijr, 14-15)