Famous La Quotes

El verbo leer, como el verbo amar y el verbo soñar, no soporta ‘el modo imperativo’. Yo siempre les aconsejé a mis estudiantes que si un libro los aburre lo dejen; que no lo lean porque es famoso, que no lean un libro porque es moderno, que no lean un libro porque es antiguo. La lectura debe ser una de las formas de la felicidad y no se puede obligar a nadie a ser feliz. The verb reading, like the verb to love and the verb dreaming, doesn't bear the imperative mode. I always advised to my students that if a book bores them leave it; That they don't read it because it's famous, that they don't read a book because it's modern, that they don't read a book because it's antique. The reading should be one of the ways of happiness and nobody can be obliged to be happy.

I did not become famous but I got near enough to smell the stench of success. It smelt like burnt cloth and rancid gardenias, and I realized that the truly awful thing about success is that it's held up all those years as the thing that would make everything all right. And the only thing that makes things even slightly bearable is a friend who knows what you're talking about.

Tell me anything. Tell me everything. Revoke our time apart. Love me fierce in danger.

Madame V begins the lesson by reading aloud the first stanza of a famous French poem: Il pleure dans mon coeur Comme il pleut sur la ville; Quelle est cette langueur Qui penetre mon coeur? Then she looks up and without any warning she calls on me to translate it. I swallow hard, and try: "It's raining in my heart like it's raining in the city. What is this sadness that pierces my heart?" Saying these words out loud, right in front of the whole class, makes me feel like I'm not wearing any clothes.

He remembered his mentor, Lou Kline, telling him in the nineties that rock and roll had peaked at Monterey Pop. They'd been in Lou's house in LA with its waterfalls, the pretty girls Lou always had, his car collection out front, and Bennie had looked into his idol's famous face and thought, You're finished. Nostalgia was the end - everyone knew that.

Yearning is a red-haired girl sitting on the hood of her silver sedan, reading about Marilyn Monroe. A cherry orchard at night, houselights in the distance. It's the painstaking neatness of a paint-by-number sunset, a yellowed letter held between graceful fingers, a cautious step into the sun-filled lobby of a famous hotel. It's the way I feel every time I think about Ava.

You can be anywhere in the world ... under confetti, under bombs, in cellar or stratosphere, prison or embassy, on the equator in Trondhjem, you'll never go wrong, you'll get a direct response ... all they want of you is that famous Parisian vagina! la Parisienne! your man sees himself wedged between her thighs in epileptic bliss, full nuptial flight, inundating the barisienne with his enthusiasm ...

We started out to see some of Paris on foot with him, stopping at the famous Café de la Paix, where you were supposed to see everyone you knew if you just sat there long enough. To sit at a sidewalk café having coffee or a drink – the sound and sight of France all around. The Champs-Elysées was incredible – the chestnut trees – how could one city attain such perfection? Who had dreamed it up? Who had made it all come true? I wanted to see every corner of it.

The wrought-iron gate squeaked as Lucas opened it. He lowered the rented bike down the stone steps and onto the sidewalk. To his right was the most famous Globe Hotel in Paris, disguised under another name. In front of the entrance five Curukians sat on mopeds. Lu-cas and his eighteen-month-old friend then shot out across the street and through the invisible beam of an-other security camera. He rode diagonally across the place de la Concorde and headed toward the river. It seemed only natural. The motorcycles trailed him. He pedaled fast across the Alex-andre III bridge and zipped past Les Invalides hospital. He tried to turn left at the Rodin Museum, but Goper rode next to him, blocking his escape.

On arrival at Orly Airport, Fritz and Magda hired a taxi which drove them to the city. They saw before them a metropolis crowned with triumphal architecture and magnificent monuments. The first Parisian landmark that caught their eye was the majestic Eiffel Tower and, in the background, on a distant hill, the white church of Montmartre. They immediately opted that their hotel could wait and asked the driver to take them around the city, though they knew that this would cost them a whole day's budget. What they began to see was simply spectacular: wide areas edified with splendid monuments, fantastic fountains, enchanting gardens and bronze statues representing the best exponents who flourished in the city, amongst whom artists, philosophers, musicians and great writers. The River Seine fascinated them, with boatloads of tourists all eager to see as much as they could of the city. They also admired a number of bridges, amongst which the flamboyant Pont Alexandre III. The driver, a friendly, balding man of about fifty, with moustaches à la Clemenceau, informed them that quite nearby there was the famous Pont Neuf which, ironically, was the first to be built way back in 1607. They continued their tour...

Genius' was a word loosely used by expatriot Americans in Paris and Rome, between the Versailles Peace treaty and the Depression, to cover all varieties of artistic, literary and musical experimentalism. A useful and readable history of the literary Thirties is Geniuses Together by Kay Boyle-Joyce, Hemingway, Scott Fitzgerald, Pound, Eliot and the rest. They all became famous figures but too many of them developed defects of character-ambition, meanness, boastfulness, cowardice or inhumanity-that defrauded their early genius. Experimentalism is a quality alien to genius. It implies doubt, hope, uncertainty, the need for group reassurance; whereas genius works alone, in confidence of a foreknown result. Experiments are useful as a demonstration of how not to write, paint or compose if one's interest lies in durable rather than fashionable results; but since far more self-styled artists are interested in frissons á la mode rather than in truth, it is foolish to protest. Experimentalism means variation on the theme of other people's uncertainties.

Achille Adrien Proust, was a famous doctor and epidemiologist, responsible for studying and attempting to remedy the causes and movements of cholera through Europe and Asia

Right now I am thinking of writing another cookbook. All cookbooks have a gimmick, and mine will be that it contains recipes that I have invented and named after famous people. Some of them are: Brisket of Brynner (very lean meat) Carson Casserole (it's got everything on it) Barbecued Walters Marinated Maude Roasted Rhoda King King Curry (it will feed about eight thousand people) Fricassee of Fonzi Pickled Rickles Raquel Relish Leftovers à la Gabors

Something that once had importance might be forgotten by most people but because millions of people once knew it, a force is present that can be harnessed. There might be so much significance attached to a song, for example, or a fact, that it can’t die but only lies dormant, like a vampire in his coffin, waiting to be called forth from the grave once again. There is more magic in the fact that the first mass worldwide photo of the Church of Satan was taken by Joe Rosenthal – the same man who took the most famous news photo in history – the flag-raising at Iwo Jima. There’s real occult significance to that – much more than in memorizing grimoires and witches’ alphabets. People ask me about what music to use in rituals – what is the best occult music. I’ve instructed people to go to the most uncrowded section of the music store and it’s a guarantee what you’ll find there will be occult music. That’s the power of long-lost trivia. I get irritated by people who turn up their noses and whine ‘Why would anyone want to know that?’ Because once upon a time, everyone in America knew it. Suppose there’s a repository of neglected energy, that’s been generated and forgotten. Maybe it’s like a pressure cooker all this time, just waiting for someone to trigger its release. ‘Here I am,’ it beckons, ‘I have all this energy stored up just waiting for you – all you have to do is unlock the door. Because of man’s stupidity, he’s neglected me to this state of somnambulism – dreaming the ancient dreams – even though I was once so important to him.’ Think about that. A song that was once on millions of lips now is only on your lips. Now what does that contain? Those vibrations of that particular tune, what do they evoke, call up? What do they unlock? The old gods lie dormant, waiting.

You burn to have your photograph in a tennis magazine.” “I’m afraid so.” “Why again exactly, now?” “I guess to be felt about as I feel about those players with their pictures in magazines.” “Why?” “Why? I guess to give my life some sort of meaning, Lyle.” “And how would this do this again?” “Lyle, I don’t know. I do not know. It just does. Would. Why else would I burn like this, clip secret pictures, not take risks, not sleep or pee?” “You feel these men with their photographs in magazines care deeply about having their photographs in magazines. Derive immense meaning.” “I do. They must. I would. Else why would I burn like this to feel as they feel?” “The meaning they feel, you mean. From the fame.” “Lyle, don’t they?” “LaMont, perhaps they did at first. The first photograph, the first magazine, the gratified surge, the seeing themselves as others see them, the hagiography of image, perhaps. Perhaps the first time: enjoyment. After that, do you trust me, trust me: they do not feel what you burn for. After the first surge, they care only that their photographs seem awkward or unflattering, or untrue, or that their privacy, this thing you burn to escape, what they call their privacy is being violated. Something changes. After the first photograph has been in a magazine, the famous men do not enjoy their photographs in magazines so much as they fear that their photographs will cease to appear in magazines. They are trapped, just as you are.” “Is this supposed to be good news? This is awful news.” “LaMont, are you willing to listen to a Remark about what is true?” “Okey-dokey.” “The truth will set you free. But not until it is finished with you.” “Maybe I ought to be getting back.” “LaMont, the world is very old. You have been snared by something untrue. You are deluded. But this is good news. You have been snared by the delusion that envy has a reciprocal. You assume that there is a flip-side to your painful envy of Michael Chang: namely Michael Chang’s enjoyable feeling of being-envied-by-LaMont-Chu. No such animal.” “Animal?” “You burn with hunger for food that does not exist.” “This is good news?” “It is the truth. To be envied, admired, is not a feeling. Nor is fame a feeling. There are feelings associated with fame, but few of them are any more enjoyable than the feelings associated with envy of fame.” “The burning doesn’t go away?” “What fire dies when you feed it? It is not fame itself they wish to deny you here. Trust them. There is much fear in fame. Terrible and heavy fear to be pulled and held, carried. Perhaps they want only to keep it off you until you weigh enough to pull toward yourself.” “Would I sound ungrateful if I said this doesn’t make me feel very much better at all?” “LaMont, the truth is that the world is incredibly, incredibly, unbelievably old. You suffer with the stunted desire caused by one of its oldest lies. Do not believe the photographs. Fame is not the exit from any cage.” “So I’m stuck in the cage from either side. Fame or tortured envy of fame. There’s no way out.” “You might consider how escape from a cage must surely require, foremost, awareness of the fact of the cage.

Psychic is the new normal.

I'm mixed on figs. The fleshy quality feels spooky. In Italian, il fico, fig, has a slangy turn into la fica, meaning vulva. Possibly because of the famous fig leaf exodus from Eden, it seems like the most ancient of fruits. Oddest, too—the fig flower is inside the fruit. To pull one open is to look into a complex, primitive, infinitely sophisticated life cycle tableau.

Eliza had never seen Alex quite so happy and relaxed. She shook her head and laughed at the incongruity of it all: Imagine General Washington's famous aide-de-camp taking the time to stop and admire the birds. "One day, Alex, when you tire of being a soldier, we will spend all of our days just like this, watching birds and taking in the sun, surrounded by children of our own. You'd like that, wouldn't you, my love?" "Eliza, you and the Pastures have already taken a perfectly fine soldier and turned him into a lovesick pup. And at this moment, on this very day, there's nothing and nowhere I'd rather be.

Janis Joplin was always wondering when her prince would come, and the wait was such a bore that she purchased total surcease on the smooth, blank, clear, smiling lake of heroin. A famous friend of the famous

Garbo said she wanted to be alone, that famous line, but what the real Miss Garbo desired was to be left alone, a very different thing: as in unbothered, unwatched, unharried. What she longed for was privacy, the experience of drifting unobserved

Men who are famous for their talent, great poets, eminent historians, are always, or almost always, envied by those whose particular pleasure and entertainment is judging other people’s writings without ever having brought anything of their own into the light of day.

It infuriates him, this killing, this death. Infuriating that this is what we’re known for now, drug cartels and slaughter. This my city of Avenida 16 Septembre, the Victoria Theater, cobblestone streets, the bullring, La Central, La Fogata, more bookstores than El Paso, the university, the ballet, garapiñados, pan dulce, the mission, the plaza, the Kentucky Bar, Fred’s—now it’s known for these idiotic thugs. And my country, Mexico—the land of writers and poets—of Octavio Paz, Juan Rulfo, Carlos Fuentes, Elena Garro, Jorge Volpi, Rosario Castellanos, Luis Urrea, Elmer Mendoza, Alfonso Reyes—the land of painters and sculptors—Diego Rivera, Frida Kahlo, Gabriel Orozco, Pablo O’Higgins, Juan Soriano, Francisco Goitia—of dancers like Guillermina Bravo, Gloria and Nellie Campobello, Josefina Lavalle, Ana Mérida, and composers—Carlos Chávez, Silvestre Revueltas, Agustín Lara, Blas Galindo—architects—Luis Barragán, Juan O’Gorman, Tatiana Bilbao, Michel Rojkind, Pedro Vásquez—wonderful filmmakers—Fernando de Fuentes, Alejandro Iñárritu, Luis Buñuel, Alfonso Cuarón, Guillermo del Toro—actors like Dolores del Río, “La Doña” María Félix, Pedro Infante, Jorge Negrete, Salma Hayek—now the names are “famous” narcos—no more than sociopathic murderers whose sole contribution to the culture has been the narcocorridas sung by no-talent sycophants. Mexico, the land of pyramids and palaces, deserts and jungles, mountains and beaches, markets and gardens, boulevards and cobblestoned streets, broad plazas and hidden courtyards, is now known as a slaughter ground. And for what? So North Americans can get high.

Everything big, once started little. Most famous people started just where you are at now. Catapult yourself to success. Practice self-discipline. Work to develop excellent skills and abilities. Learn to be polite and diplomatic. Doing this, helps insure you grow big at what you want for success.

Everything big, once started little. Most famous people started just where you are at now. Catapult yourself to success. Practice self-discipline. Work to develop excellent skills and abilities. Learn to be polite and diplomatic. Doing this, helps insure you will grow big at what you want for success.

It hadn’t always been this way, that’s a cliché, but it is a cliché for a reason. It’s not like anyone starts a relationship with nothing to say to the other person. No-one wants to feel like a complete stranger and live together because it’s easier than trying to remember who owns the copy of Almost Famous – which was mine by the way.

Paul Gauguin’s remark about his friend Van Gogh is not without interest: “Il oubliait même,” wrote the famous painter of négresses, “d’écrire le hollandais, et comme on a pu voir par la publication de ses lettres à son frère, il n’écrivait jamais qu’en français, et cela admirablement, avec des ‘Tant qu’à, Quant à,’ à n’en plus finir.”[1]

We believe that, despite a possibly cruel temperament and an impetuous nature that she followed throughout her life, Madame Delphine Macarty Lopez Blanque Lalaurie was not a serial killer, a sexual sadist or a perpetrator of bizarre medical experiments. She was a willful, spoiled, beautiful Creole socialite whose temper led her down the path of infamy.

Better is it for a soldier to die in battle than to save his life by running away. For my part I had rather be again present, were it possible, in that famous battle, than whole and sound without sharing ill the glory of it. The scars which a soldier exhibits in his breast and face are stars to guide others to the haven of honour and the love of just praise.

In the famous tale by Ahiqar, later picked up by Aesop (then again by La Fontaine), the dog boasts to the wolf all the contraptions of comfort and luxury he has, almost prompting the wolf to enlist. Until the wolf asks the dog about his collar and is terrified when he understands its use. “Of all your meals, I want nothing.” He ran away and is still running.*3 The question is: what would you like to be, a dog or a wolf?

One of my favorite album covers is On the Beach. Of course that was the name of a movie and I stole it for my record, but that doesn't matter. The idea for that cover came like a bolt from the blue. Gary and I traveled around getting all the pieces to put it together. We went to a junkyard in Santa Ana to get the tail fin and fender from a 1959 Cadillac, complete with taillights, and watched them cut it off a Cadillac for us, then we went to a patio supply place to get the umbrella and table. We picke up the bad polyester yellow jacket and white pants at a sleazy men's shop, where we watched a shoplifter getting caught red-handed and busted. Gary and I were stoned on some dynamite weed and stood there dumbfounded watching the bust unfold. This girl was screaming and kicking! Finally we grabbed a local LA paper to use as a prop. It had this amazing headline: Sen. Buckley Calls For Nixon to Resign. Next we took the palm tree I had taken around the world on the Tonight's the Night tour. We then placed all of these pieces carefully in the sand at Santa Monica beach. Then we shot it. Bob Seidemann was the photographer, the same one who took the famous Blind Faith cover shot of the naked young girl holding the airplane. We used the crazy pattern from the umbrella insides for the inside of the sleeve that held the vinyl recording. That was the creative process at work. We lived for that, Gary and I, and we still do.

For, as on the coloured canvas Subtle pencils softly blend Dark and light in such proportions That the dim perspectives end- Now perhaps like famous cities, Now like caves or misty capes, For remoteness ever formeth Monstrous or unreal shapes... So it was, while I alone, Saw their bulk and vast proportions But their form remained unknown. First they seemed to us uplifting High in heaven their pointed towers, Clouds that to the sea descended, To conceive in sapphire showers What they would bring forth in crystal. And this fancy seemed more true, As from their untold abundance They, methought, could drink the blue Drop by drop. Again sea monsters Seemed to us the wandering droves, Which, to from the train of Neptune, Issued from their green alcoves. For the sails, when lightly shaken, Fanned by zephyrs as by slaves, Seemed to us like outspread pinions Fluttering o'er the darkened waves; Then the mass, approaching nearer, Seemed a mighty Babylon, With its hanging gardens pictures By the streamers fluttering down. But at last our certain vision Undeceived, becoming true, Showed it was a great armada For I saw the prows cut through Foam....

My mouth watered as she laid a serving bowl full of steaming kothu chapati on the table. It was a delicious dish made from sliced and shredded Indian flatbreads, or chapatis, garlic, ginger, vegetables, spices, and tonight, Mom's famous chicken curry. The shredded bread resembled noodles- crispy on the edges and full of flavor from the sauce soaked into them. "Can someone help me bring out the rest?" Henry and I went into the kitchen with Mom and returned with green beans with coconut, lemon rice, and a salad called kosambari, made with cucumbers, tomatoes, and soaked dal. Riya and Jules continued bickering, but they quieted down once Mom came in with a bowl of creamy homemade yogurt.

By the time I first encountered Jung, as a teenager in the early 1970s, this was certainly happening. Jung may not have been accepted by mainstream intellectuals—Freud was their psychologist of choice—but he had certainly been adopted by the counterculture. When I first read Memories, Dreams, Reflections—his “so-called autobiography”—Jung was part of a canon of “alternative” thinkers that included Hermann Hesse, Alan Watts, Carlos Castaneda, D. T. Suzuki, R. D. Laing, Aldous Huxley, Jorge Luis Borges, Aleister Crowley, Timothy Leary, Madame Blavatsky, and J. R. R. Tolkien, to name a few. That his face appeared on the cover of the Beatles’ famous Sgt. Pepper’s Lonely Hearts Club Band album, in a crowd of other unorthodox characters, was endorsement enough.

I began by preparing my pasta: my deft fingers forming the intricate shapes of rigatoni, ravioli, spiralli, spaghetti, cannelloni, and linguini. Then I would brew sauces of sardines, or anchovies or zucchini or sheep's cheeses, of saffron, pine nuts, currants, and fennel. These I would simmer in the huge iron cauldrons, which were constantly bubbling above the fire. My pasta dishes, I have to say, were famous throughout the province, and the scent of my sauces carried by the breeze was sufficient to fill a poor man's stomach. I also kneaded bread and produced the finest pane rimacinato, the most delicious ciabatta and focaccia that had ever been tasted in the region. Sometimes I would add wild thyme to the dough, or fragrant rosemary; plucked fresh from the hedgerow, with the dew still on the leaves.

THE FIRST THING you need to do to get a man to elope with you is to challenge him to go to Las Vegas. You do this by being out at an L.A. club and having a few drinks together. You ignore the impulse to roll your eyes at how eager he is to have his picture taken with you. You recognize that everyone is playing everyone else. It’s only fair that he’s playing you at the same time as you’re playing him. You reconcile these facts by realizing that what you both want from each other is complementary. You want a scandal. He wants the world to know he screwed you. The two things are one and the same. You consider laying it out for him, explaining what you want, explaining what you’re willing to give him. But you’ve been famous long enough to know that you never tell anyone anything more than you have to. So instead of saying I’d like us to make tomorrow’s papers, you say, “Mick, have you ever been to Vegas?

After placing him on the animal’s back, Sancho handed him his torch, and Don Quixote told him to follow after his companions and, on his behalf, to beg their pardon for the offense against them, which it had not been in his power to avoid committing. Sancho also said to him: “If, by chance, those gentlemen would like to know who the valiant man is who offended them, your grace can say he is the famous Don Quixote of La Mancha, also known as The Knight of the Sorrowful Face.” At this the bachelor rode off, and Don Quixote asked Sancho what had moved him to call him The Knight of the Sorrowful Face at that moment and at no other. “I’ll tell you,” responded Sancho. “I was looking at you for a while in the light of the torch that unlucky man was carrying, and the truth is that your grace has the sorriest-looking face I’ve seen recently, and it must be on account of your weariness after this battle, or the molars and teeth you’ve lost.

Four thousand miles away in France, the old boys from the Haute-Loire Resistance wrote to each other to share the devastating news. They had enjoyed nearly forty years of freedom since spending a mere couple of months in Virginia’s presence in 1944. But the warrior they called La Madone had shown them hope, comradeship, courage, and the way to be the best version of themselves, and they had never forgotten. In the midst of hardship and fear, she had shared with them a fleeting but glorious state of happiness and the most vivid moment of their lives. The last of those famous Diane Irregulars—the ever-boyish Gabriel Eyraud, her chouchou—passed away in 2017 while I was researching Virginia’s story. Until the end of his days, he and the others who had known Virginia on the plateau liked to pause now and then to think of the woman in khaki who never, ever gave up on freedom. When they talked with awe and affection of her incredible exploits, they smiled and looked up at the wide, open skies with “les étoiles dans les yeux.

He has been described as combining a theoretical love of mankind with a practical contempt for men. Well-meaning, impressionable and egotistical, he was so good at playing a part that Napoleon later dubbed him ‘the Talma of the North’, and on another occasion ‘a shifty Byzantine’. He claimed that he would happily abolish serfdom if only civilization were more advanced, but never genuinely came close to doing so, any more than he ever carried through the codification of Russian law that he promised in 1801 or ratified the liberal constitution he had asked his advisor Count Mikhail Speranski to draw up a few years later. Although La Harpe had initially enthused Alexander about Napoleon’s reforms as First Consul, when the tutor returned from Paris he was so disillusioned that he wrote a book, Reflexions on the True Nature of the First Consulship for Life, that described Napoleon as ‘the most famous tyrant the world has produced’, which had a great effect on the young tsar. Since Alexander ultimately did more than any other individual to bring about Napoleon’s downfall, his emergence on to the European scene with his father’s assassination was a seminal moment.

The Louvre’s much restored three wings or pavilions, the Sully, Denon, and Richelieu, were once the galleries where courtiers enjoyed royal hospitality and entertainments (and The Princesse de Clèves her secret surges of immoral passion). On a quiet un-crowded evening visit to the Louvre, it’s easy to imagine the masked and dancing couples in these pavilions, the rustle of silk, the whisperings of lovers, the royal entourage. The Louvre’s art collection was the result of François I’s enterprising enthusiasm for Italian art. He imported masterpieces by Uccello, Titian, Giorgione, and, most notably, Leonardo da Vinci himself, whose Mona Lisa—La Joconde in French—was and remains the most valued painting in the royal collection. Montaigne does not mention the paintings or the Italian sculptor Benvenuto Cellini whom François also imported to help transform gloomy Paris into a city of bright and saucy opulence.

In English: Some people, who can voluntarily get out of their body, went to "the other side" to see if there was anything there! The exciting testimonies of these explorers of the Beyond revealed that there are countless Worlds on other vibratory planes, in other Dimensions, where live the souls of the deceased living beings!!! But, I went even further and I have discovered that these countless Worlds are, in reality, countless Planets belonging to other Cosmic Universes located in other Spaces and other Times, on other vibratory planes, in other Dimensions! The Beyond is not nebulous but Cosmic!!! The famous "Gate of Heaven" which allows the souls to pass into the Beyond is, in reality, a true "StarGate", a huge Vortex, a Tunnel of Light which crosses the Space and Time, which leads the soul on another planet, in another world, in another Cosmic Universe, in another Space, in another Time, in another vibratory plane, in another Dimension...! I take you to discover the extraordinary adventure of Life, Evolution and Death, through multiple cycles, from life to life, from planet to planet, in an evolutionary spiral that leads souls ever higher, towards the Light...! En Français : Des personnes capables de sortir à volonté de leur corps charnel sont allées voir "de l'autre côté" s'il existait bien quelque chose...! Les témoignages passionnants de ces explorateurs de l'Au-delà ont révélé qu'il existe d'innombrables Mondes sur d'autres plans vibratoires, dans d'autres Dimensions, où vivent les âmes des êtres vivants décédés !!! Mais nous sommes allés encore plus loin et nous avons découvert que ces innombrables Mondes sont en réalité d'innombrables Planètes appartenant à d'autres Univers Cosmiques qui se trouvent dans d'autres Espaces et d’autres Temps, sur d'autres plans vibratoires, dans d'autres Dimensions ! L'Au-delà n'est pas nébuleux mais Cosmique !!! La fameuse "Porte du Ciel" qui permet aux âmes de passer dans l'Au-delà, est en réalité une véritable "Porte des Etoiles", un énorme Vortex, un Tunnel de Lumière qui traverse l'Espace et le Temps, qui mène l'âme sur une autre planète, dans un autre Monde, dans un autre Univers Cosmique, dans un autre Espace, dans un autre Temps, sur un autre plan vibratoire, dans une autre Dimension.

There’s a tap on my shoulder. I turn around and get lost in a sea of blue. A Jersey-accented voice says, “It’s about time, kid,” and Frank Sinatra rattles the ice in his glass of Jack Daniel’s. Looking at the swirling deep-brown liquid, he whispers, “Ain’t it beautiful?” This is my introduction to the Chairman of the Board. We spend the next half hour talking Jersey, Hoboken, swimming in the Hudson River and the Shore. We then sit down for dinner at a table with Robert De Niro, Angie Dickinson and Frank and his wife, Barbara. This is all occurring at the Hollywood “Guinea Party” Patti and I have been invited to, courtesy of Tita Cahn. Patti had met Tita a few weeks previous at the nail parlor. She’s the wife of Sammy Cahn, famous for such songs as “All The Way,” “Teach Me Tonight” and “Only the Lonely.” She called one afternoon and told us she was hosting a private event. She said it would be very quiet and couldn’t tell us who would be there, but assured us we’d be very comfortable. So off into the LA night we went. During the evening, we befriend the Sinatras and are quietly invited into the circle of the last of the old Hollywood stars. Over the next several years we attend a few very private events where Frank and the remaining clan hold forth. The only other musician in the room is often Quincy Jones, and besides Patti and I there is rarely a rocker in sight. The Sinatras are gracious hosts and our acquaintance culminates in our being invited to Frank’s eightieth birthday party dinner. It’s a sedate event at the Sinatras’ Los Angeles home. Sometime after dinner, we find ourselves around the living room piano with Steve and Eydie Gorme and Bob Dylan. Steve is playing the piano and up close he and Eydie can really sing the great standards. Patti has been thoroughly schooled in jazz by Jerry Coker, one of the great jazz educators at the Frost School of Music at the University of Miami. She was there at the same time as Bruce Hornsby, Jaco Pastorius and Pat Metheny, and she learned her stuff. At Frank’s, as the music drifts on, she slips gently in on “My One and Only Love.” Patti is a secret weapon. She can sing torch like a cross between Peggy Lee and Julie London (I’m not kidding). Eydie Gorme hears Patti, stops the music and says, “Frank, come over here. We’ve got a singer!” Frank moves to the piano and I then get to watch my wife beautifully serenade Frank Sinatra and Bob Dylan, to be met by a torrent of applause when she’s finished. The next day we play Frank’s eightieth birthday celebration for ABC TV and I get to escort him to the stage along with Tony Bennett. It’s a beautiful evening and a fitting celebration for the greatest pop singer of all time. Two years later Frank passed away and we were generously invited to his funeral. A

The mixture of a solidly established Romance aristocracy with the Old English grassroots produced a new language, a “French of England,” which came to be known as Anglo-Norman. It was perfectly intelligible to the speakers of other langues d’oïl and also gave French its first anglicisms, words such as bateau (boat) and the four points of the compass, nord, sud, est and ouest. The most famous Romance chanson de geste, the Song of Roland, was written in Anglo-Norman. The first verse shows how “French” this language was: Carles li reis, nostre emperere magnes, set anz tuz pleins ad estéd en Espaigne, Tresqu’en la mer cunquist la tere altaigne… King Charles, our great emperor, stayed in Spain a full seven years: and he conquered the high lands up to the sea… Francophones are probably not aware of how much England contributed to the development of French. England’s court was an important production centre for Romance literature, and most of the early legends of King Arthur were written in Anglo-Norman. Robert Wace, who came from the Channel Island of Jersey, first evoked the mythical Round Table in his Roman de Brut, written in French in 1155. An Englishman, William Caxton, even produced the first “vocabulary” of French and English (a precursor of the dictionary) in 1480. But for four centuries after William seized the English crown, the exchange between Old English and Romance was pretty much the other way around—from Romance to English. Linguists dispute whether a quarter or a half of the basic English vocabulary comes from French. Part of the argument has to do with the fact that some borrowings are referred to as Latinates, a term that tends to obscure the fact that they actually come from French (as we explain later, the English worked hard to push away or hide the influence of French). Words such as charge, council, court, debt, judge, justice, merchant and parliament are straight borrowings from eleventh-century Romance, often with no modification in spelling. In her book Honni soit qui mal y pense, Henriette Walter points out that the historical developments of French and English are so closely related that anglophone students find it easier to read Old French than francophones do. The reason is simple: Words such as acointance, chalenge, plege, estriver, remaindre and esquier disappeared from the French vocabulary but remained in English as acquaintance, challenge, pledge, strive, remain and squire—with their original meanings. The word bacon, which francophones today decry as an English import, is an old Frankish term that took root in English. Words that people think are totally English, such as foreign, pedigree, budget, proud and view, are actually Romance terms pronounced with an English accent: forain, pied-de-grue (crane’s foot—a symbol used in genealogical trees to mark a line of succession), bougette (purse), prud (valiant) and vëue. Like all other Romance vernaculars, Anglo-Norman evolved quickly. English became the expression of a profound brand of nationalism long before French did. As early as the thirteenth century, the English were struggling to define their nation in opposition to the French, a phenomenon that is no doubt the root of the peculiar mixture of attraction and repulsion most anglophones feel towards the French today, whether they admit it or not. When Norman kings tried to add their French territory to England and unify their kingdom under the English Crown, the French of course resisted. The situation led to the first, lesser-known Hundred Years War (1159–1299). This long quarrel forced the Anglo-Norman aristocracy to take sides. Those who chose England got closer to the local grassroots, setting the Anglo-Norman aristocracy on the road to assimilation into English.

Spaghetti alla puttanesca is typically made with tomatoes, olives, anchovies, capers, and garlic. It means, literally, "spaghetti in the style of a prostitute." It is a sloppy dish, the tomatoes and oil making the spaghetti lubricated and slippery. It is the sort of sauce that demands you slurp the noodles Goodfellas style, staining your cheeks with flecks of orange and red. It is very salty and very tangy and altogether very strong; after a small plate, you feel like you've had a visceral and significant experience. There are varying accounts as to when and how the dish originated- but the most likely explanation is that it became popular in the mid-twentieth century. The first documented mention of it is in Raffaele La Capria's 1961 novel, Ferito a Morte. According to the Italian Pasta Makers Union, spaghetti alla puttanesca was a very popular dish throughout the sixties, but its exact genesis is not quite known. Sandro Petti, a famous Napoli chef and co-owner of Ischian restaurant Rangio Fellone, claims to be its creator. Near closing time one evening, a group of customers sat at one of his tables and demanded to be served a meal. Running low on ingredients, Petti told them he didn't have enough to make anything, but they insisted. They were tired, and they were hungry, and they wanted pasta. "Facci una puttanata qualsiasi!" they cried. "Make any kind of garbage!" The late-night eater is not usually the most discerning. Petti raided the kitchen, finding four tomatoes, two olives, and a jar of capers, the base of the now-famous spaghetti dish; he included it on his menu the next day under the name spaghetti alla puttanesca. Others have their own origin myths. But the most common theory is that it was a quick, satisfying dish that the working girls of Naples could knock up with just a few key ingredients found at the back of the fridge- after a long and unforgiving night. As with all dishes containing tomatoes, there are lots of variations in technique. Some use a combination of tinned and fresh tomatoes, while others opt for a squirt of puree. Some require specifically cherry or plum tomatoes, while others go for a smooth, premade pasta. Many suggest that a teaspoon of sugar will "open up the flavor," though that has never really worked for me. I prefer fresh, chopped, and very ripe, cooked for a really long time. Tomatoes always take longer to cook than you think they will- I rarely go for anything less than an hour. This will make the sauce stronger, thicker, and less watery. Most recipes include onions, but I prefer to infuse the oil with onions, frying them until brown, then chucking them out. I like a little kick in most things, but especially in pasta, so I usually go for a generous dousing of chili flakes. I crush three or four cloves of garlic into the oil, then add any extras. The classic is olives, anchovies, and capers, though sometimes I add a handful of fresh spinach, which nicely soaks up any excess water- and the strange, metallic taste of cooked spinach adds an interesting extra dimension. The sauce is naturally quite salty, but I like to add a pinch of sea or Himalayan salt, too, which gives it a slightly more buttery taste, as opposed to the sharp, acrid salt of olives and anchovies. I once made this for a vegetarian friend, substituting braised tofu for anchovies. Usually a solid fish replacement, braised tofu is more like tuna than anchovy, so it was a mistake for puttanesca. It gave the dish an unpleasant solidity and heft. You want a fish that slips and melts into the pasta, not one that dominates it. In terms of garnishing, I go for dried oregano or fresh basil (never fresh oregano or dried basil) and a modest sprinkle of cheese. Oh, and I always use spaghetti. Not fettuccine. Not penne. Not farfalle. Not rigatoni. Not even linguine. Always spaghetti.

My darling son: depression at your age is more common than you might think. I remember it very strongly in Minneapolis, Minnesota, when I was about twenty-six and felt like killing myself. I think the winter, the cold, the lack of sunshine, for us tropical creatures, is a trigger. And to tell you the truth, the idea that you might soon unpack your bags here, having chucked in all your European plans, makes your mother and me as happy as could be. You have more than earned the equivalent of any university 'degree' and you have used your time so well to educate yourself culturally and personally that if university bores you, it is only natural. Whatever you do from here on in, whether you write or don't write, whether you get a degree or not, whether you work for your mother, or at El Mundo, or at La Ines, or teaching at a high school, or giving lectures like Estanislao Zuleta, or as a psychoanalyst to your parents, sisters and relatives, or simply being Hector Abad Faciolince, will be fine. What matters is that you don't stop being what you have been up till now, a person, who simply by virtue of being the way you are, not for what you write or don't write, or for being brilliant or prominent, but just for being the way you are, has earned the affection, the respect, the acceptance, the trust, the love, of the vast majority of those who know you. So we want to keep seeing you in this way, not as a future great author, or journalist or communicator or professor or poet, but as the son, brother, relative, friend, humanist, who understands others and does not aspire to be understood. It does not matter what people think of you, and gaudy decoration doesn't matter, for those of us who know you are. For goodness' sake, dear Quinquin, how can you think 'we support you (...) because 'that boy could go far'? You have already gone very far, further than all our dreams, better than everything we imagined for any of our children. You should know very well that your mother's and my ambitions are not for glory, or for money, or even for happiness, that word that sounds so pretty but is attained so infrequently and for such short intervals (and maybe for that very reason is so valued), for all our children, but that they might at least achieve well-being, that more solid, more durable, more possible, more attainable word. We have often talked of the anguish of Carlos Castro Saavedra, Manuel Meija Vallejo, Rodrigo Arenas Betancourt, and so many quasi-geniuses we know. Or Sabato or Rulfo, or even Garcia Marquez. That does not matter. Remember Goethe: 'All theory (I would add, and all art), dear friend, is grey, but only the golden tree of life springs ever green.' What we want for you is to 'live'. And living means many better things than being famous, gaining qualifications or winning prizes. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. Only now, when all that has passed, have I felt really happy. And part of that happiness is Cecilia, you, and all my children and grandchildren. Only the memory of Marta Cecilia tarnishes it. I believe things are that simple, after having gone round and round in circles, complicating them so much. We should do away with this love for things as ethereal as fame, glory, success... Well, my Quinquin, now you know what I think of you and your future. There's no need for you to worry. You are doing just fine and you'll do better, and when you get to my age or your grandfather's age and you can enjoy the scenery around La Ines that I intend to leave to all of you, with the sunshine, heat and lush greenery, and you'll see I was right. Don't stay there longer than you feel you can. If you want to come back I'll welcome you with open arms. And if you regret it and want to go back again, we can buy you another return flight. A kiss from your father.

The Century was a high-speed luxury train, used by the rich and famous traveling between Chicago and New York. Sportscaster Bob Elson set up a microphone in Chicago’s LaSalle Street Station and tried to intercept well-knowns for spontaneous interviews. Among the celebrities who appeared were Rita Hayworth and Eleanor Roosevelt, but architect Frank Lloyd Wright brushed briskly past. When Elson said he loved Wright’s work, Wright replied, “In that case, young man, I’ve done enough for you already.” The show was alive with terminal noise, with trains hissing and chugging and tooting. Train buffs complained that the Century was dieselpowered, but the producers thought the old sounds were more romantic, so the sound effects records remained, at least into the late ’40s.

In Paris restaurants can actually go into a kind of hibernation for years and awaken in a new generation: Lapérouse, the famous swanky nineteenth-century spot, has, after a long stretch of being overlooked, just come back to life, and is a good place to eat again. Reading Olivier Todd’s biography of Camus, you discover that the places where Camus went to dinner in the forties (Aux Charpentiers, Le Petit St. Benoît, Aux Assassins) are places where you can go to dinner tonight. Some of Liebling’s joints are still in business too: the Beaux-Arts, the Pierre à la Place Gaillon, the Closerie des Lilas.

Algerian-born writer Albert Camus elegantly expressed this notion in the famous quotation, “Ma patrie, c’est la langue française” (“My homeland is the French language”).

This wider history notwithstanding, I believe India still constitutes a special case. Its distinctiveness is threefold. First, the tradition of the thinker-activist persisted far longer in India than elsewhere. While the men who founded the United States in the late eighteenth century had fascinating ideas about democracy and nationhood, thereafter American politicians have merely governed and ruled, or sometimes misgoverned and misruled.1 Their ideas, such as these are, have come from professional ideologues or intellectuals. On the other hand, from the first decades of the nineteenth century until the last decades of the twentieth century, the most influential political thinkers in India were, as often as not, its most influential political actors. Long before India was conceived of as a nation, in the extended run-up to Indian independence, and in the first few decades of freedom, the most interesting reflections on society and politics were offered by men (and women) who were in the thick of political action. Second, the relevance of individual thinkers too has lasted longer in India. For instance, Lenin’s ideas were influential for about seventy years, that is to say, from the time the Soviet state was founded to the time it disappeared. Mao’s heyday was even shorter—roughly three decades, from the victory of the Chinese Revolution in 1949 to the repudiation by Deng Xiaoping of his mentor’s ideas in the late 1970s. Turning to politicians in Western Europe, Churchill’s impassioned defence of the British Empire would find no takers after the 1950s. De Gaulle was famous for his invocation of the ‘grandeur de la France’, but those sentiments have now been (fortunately?) diluted and domesticated by the consolidation of the European Union. On the other hand, as this book will demonstrate, Indian thinkers of the nineteenth and early twentieth centuries still speak in many ways to the concerns of the present. A third difference has to do with the greater diversity of thinkers within the Indian political tradition. Even Gandhi and Nehru never held the kind of canonical status within their country as Mao or Lenin did in theirs. At any given moment, there were as many Indians who were opposed to their ideas as were guided by them. Moreover, the range of issues debated and acted upon by politicians and social reformers appears to have been far greater in India than in other countries. This depth and diversity of thought was, as I argue below, in good part a product of the depth and diversity of the society itself.

¿Qué es la vida sino el tránsito de las espinillas a las arrugas en pos de la sabiduría?

And you’re spending the whole summer in Rome?” I ask. “Digging things up?” He absentmindedly plays with a loose string at the hem of his shirt. “We’ll be here a few more weeks. Then we’ll move on to a dig in Tuscany. And we get weekends off, sometimes even three-day weekends, so I plan on traveling when I can. Blowing all my graduation money,” he adds with a laugh. “Where to?” “Pompeii, for obvious reasons, but I also want to see Venice before it sinks. And everyone says the place to see at least once in your life is the Cinque Terre.” I do my best to repeat the words he just said. “Cinque Terre?” “It means ‘the five lands.’ It’s a section of the northern coast, the Italian Riviera. Five little fishing villages all connected by a path along the cliffs of the sea. The trail’s pretty famous. It’s called la Via dell’Amore.” The words flow like he’s a local. I look away quickly when I realize I’m staring at his lips, silently begging for him to keep speaking in Italian. “Sounds beautiful.” “I’ve heard it’s one of the best places to photograph in the country,” he says, pointing to my camera. “You should go and check it out. I mean, since your summer’s free now.” He flashes a sneaky smile. My partner in crime. I return the smile. “Maybe I will.

Driving through the “Túnel de la Bahía,” which was started two years after I was in Havana last, was completed in 1958 by the French company “French Societé des Grand Travaux de Marseille.” The 2,405 foot long tunnel takes you to the eastern side of the entrance of Havana harbor, on the “Via Monumental highway” located just behind the famous Morro Castle. Continuing east along Cuba’s northern coast through the rather grim Pan Americana, a Russian style housing development, on the Carretera Del Morro, brings you to “Cojimar,” one of the most charming Cuban towns near Havana. This picturesque fishing village is where Hemingway docked his boat “El Pilar” and was the inspiration for one of his most famous books, “The Old Man and the Sea.” It is said that the old man referred to in his book, was Gregorio Fuentes, a resident of Cojimar.

Once released from her trading responsibilities, she descended to Cannes’s famous seafront esplanade. Occasionally she dallied for a while, enjoying the sunshine while strolling the length of the Boulevard de la Croisette, or she might pause for un caffè espresso and a swift perusal of the announcements in the local daily newspaper, Nice Matin. More often than not, though, her habit was to walk purposefully in the direction of the new port close to the Pointe Croisette, where waiting patiently on the corner of Place Franklin Roosevelt was Maurice, her chauffeur, with her morning mail, seated in her second-hand 1996 Bentley Azure, its gleaming bodywork black as a beetle’s carapace.

One might extend La Rochefoucauld’s famous maxim that neither the sun nor death can be stared at for long, by saying that no member of the modern liberal intelligentsia can stare at a social problem for very long.

Pídele a casi cualquier chicana o chicano fuera de la academia que nombre a una mujer famosa de origen mexicano y probablemente vas a escuchar "Dolores Huerta". Si la persona conoce a nuestras escritoras contemporáneas, quizá mencione a "Sandra Cisneros" o "Ana Castillo". Si preguntas por un nombre de los primeros tiempos, te podrán decir Sor Juana, la monja rebelde de los mil seiscientos. Cuando trates de profundizar, la persona a tu lado tal vez va a decir, "iMe doy por vencido!, pero, bueno... ahí está la Virgen de Guadalupe, que creo, está en muchísimas camisetas. Era inevitable entonces, que la necesidad de un libro como este sea finalmente reconocida. Ask almost anyone outside of academia to name famous US women of Mexican origin and you will probably hear ‘Dolores Huerta.’ If the person knows our contemporary writers, maybe ‘Sandra Cisneros’ and ‘Ana Castillo.’ If you ask for a name from earlier times, you might get ‘Sor Juana’-the rebel nun of the 1600’s. When you try to dig deeper, your companion may whimper, ‘I give up! Well…there’s the Virgin of Guadalupe, she’s on a lot of T-shirts. It was inevitable, then, that the need for a book like this would be recognized.

According to the official version, he replied, ‘La Garde meurt, mais ne se rend pas’ (‘The Guard dies, but doesn’t surrender’). Rumour spread, however, that ‘le Mot de Cambronne’ was not meurt, but a different five-letter m-word. A hundred years later, French encyclopedias were still refusing to quote him exactly. 65 ‘A mistake may be admitted after one day,’ it has been said; ‘if delayed, the truth will emerge after one century.’ 66 Bertrand would survive to accompany his master on the second exile. 67 Drouot lived on, and was made famous by his great oration when Napoleon’s remains were interred in Les Invalides in 1840. 68

Scarce had the rubicund Apollo spread o’er the face of the broad spacious earth the golden threads of his bright hair, scarce had the little birds of painted plumage attuned their notes to hail with dulcet and mellifluous harmony the coming of the rosy Dawn, that, deserting the soft couch of her jealous spouse, was appearing to mortals at the gates and balconies of the Manchegan horizon, when the renowned knight Don Quixote of La Mancha, quitting the lazy down, mounted his celebrated steed Rocinante and began to traverse the ancient and famous Campo de Montiel;

. . . The idea that sex is something grave belongs to a certain Judeo-Christian superstition. Georges Bataille sees eroticism as a wound through which beings communicate violently, and [René] Étiemble reproaches him for his ‘inverted Christianity,’ with his fascination for the Eros-Thanatos pair. True eroticism is gentle, airy, innocent. Even Sade looks still far too Catholic. We’ve got to de-dramatize. Think of springtime warmth, when the air becomes a vehicle for pollen and the perfume of vigorous activity: ‘All that wonderful awakening of April and May is the vast expanse of sex that proposes voluptuousness sotto voce.’ Let’s not be afraid to be as naive as flowers: pants off and under the sun. Let’s be as simple as doves: let’s mate without fear. Future purity consists of merging with that ‘endless sex orgy… With movies in between.’ The corpus cavernosum has not left the caves. It’s less than the shadow of a shadow. Now we only talk about the sex of the angels—without flesh nor pregnancies, without history nor intimacy, beyond the female and the male, far from marriage and circumcision (a pure spirit has no foreskin). But even angels still have too much consistency. And besides, we don’t believe in them. Rather, let’s compare our sex to Lichtenberg’s famous knife, ‘without a blade, for which the handle is missing’—a knife that cuts nothing…

The first known published text of the classic fairy tale "Beauty and the Beast" was written by Gabrielle-Suzanne Barbot de Villeneuve in 1740 and collected in her compilation La Jeune Américaine et les contes marins. To say that the story met with favor is an understatement. By 1756, "Beauty and the Beast" was so well known that Jeanne-Marie Leprince de Beaumont wrote an abridged edition of it that would become the popular version included in collections of fairy tales throughout the nineteenth century (although Andrew Lang went back to de Villeneuve's original for his groundbreaking anthology The Blue Fairy Book, first published in 1891 as the beginning of a twelve-book series that would revolutionize the anthologizing of fairy tales for young read ers). Fifteen years later. Jean-François Marmontel and André Ernest Modeste Grétry adapted de Villeneuve's story as the book for the opera Zémire et Azor. the start of more than two centuries of extraliterary treatments that now include Jean Cocteau's famous 1946 film La Belle et la Bête, Walt Disney's 1991 animated feature Beauty and the Beast, and countless other cinematic, televi sion, stage, and musical variations on the story's theme. More than 4,000 years after it became part of the oral storytelling tradi tion, it is easy to understand why "Beauty and the Beast" continues to be one of the most popular fairy tales of all time, and a seemingly inexhaustible source of inspiration for artists working in all mediums. Its theme of the power of unconditional love is one that never grows old.

This, then, I believe to be,—will you not admit it to be,—the woman's true place and power? But do not you see that to fulfill this, she must—as far as one can use such terms of a human creature—be incapable of error? So far as she rules, all must be right, or nothing is. She must be enduringly, incorruptibly good; instinctively, infallibly wise—wise, not for self-development, but for self-renunciation: wise, not that she may set herself above her husband, but that she may never fail from his side: wise, not with the narrowness of insolent and loveless pride, but with the passionate gentleness of an infinitely variable, because infinitely applicable, modesty of service—the true changefulness of woman. In that great sense—"La donna è mobile," not "Qual piúm' al vento"; no, nor yet "Variable as the shade, by the light quivering aspen made"; but variable as the light, manifold in fair and serene division, that it may take the color of all that it falls upon, and exalt it. 70.

they come to LA aspirting to be white. Even the ones who are biologically white aren't white white. Valet parking white. Brag about your Native American, Argentinian, Portuguese ancestry white. Pho white. Paparazzi white. I once got fired from a telemarketing job, now look at m, I'm famous white. Calabazas white. I love L.A. It's the only place where you can go skiing, to the beach and to the desert all in one day white.

Because happiness is famous for the misery of going without it.

Dr. Dre, the famous rapper and producer. While digging through the LA County court archives, I learned that in the 1980s he assaulted the mother of three of his children, Lisa Johnson, numerous times, including while she was pregnant.

The facial stills that Mario lap-dissolves between are of Johnny Gentle, Famous Crooner, founding standard-bearer of the seminal new ‘Clean U.S. Party,’ the strange-seeming but politically prescient annular agnation of ultra-right jingoist hunt-deer-with-automatic-weapons types and far-left macrobiotic Save-the-Ozone, -Rain-Forests, -Whales, -Spotted-Owl-and-High-pH-Waterways ponytailed granola-crunchers, a surreal union of both Rush L.– and Hillary R.C.–disillusioned fringes that drew mainstream-media guffaws at their first Convention (held in sterile venue), the seemingly LaRoucheishly marginal party whose first platform’s plank had been Let’s Shoot Our Wastes Into Space, 150 C.U.S.P. a kind of post-Perot national joke for three years, until—white-gloved finger on the pulse of an increasingly asthmatic and sunscreen-slathered and pissed-off American electorate—the C.U.S.P. suddenly swept to quadrennial victory in an angry reactionary voter-spasm that made the U.W.S.A. and LaRouchers and Libertarians chew their hands in envy as the Dems and G.O.P.s stood on either side watching dumbly, like doubles partners who each think the other’s surely got it, the two established mainstream parties split open along tired philosophical lines in a dark time when all landfills got full and all grapes were raisins and sometimes in some places the falling rain clunked instead of splatted, and also, recall, a post-Soviet and -Jihad era when—somehow even worse—there was no real Foreign Menace of any real unified potency to hate and fear, and the U.S. sort of turned on itself and its own philosophical fatigue and hideous redolent wastes with a spasm of panicked rage that in retrospect seems possible only in a time of geopolitical supremacy and consequent silence, the loss of any external Menace to hate and fear.

Some vampire literature is accurate, particularly concerning garlic. Vampire hunters have relied on it for centuries. Emeril LaGasse is not just a famous television chef, but also a modern Van Helsing whose obsession with garlic and pork fat is legendary. Not that bacon kills vampires. What a travesty that would be. --“Vampire Foibles,” Dexter Bloodgood’s Survival Guide for Modern Vampires, 19th Edition

Strong institutional marketing also helps sell tickets. La Scala, the Bolshoi, and the Paris Opera Ballet all can spend less on programmatic marketing—the selling of tickets—because they benefit from their high institutional visibility, earned generations ago. No arts organization, however—no matter how famous—can afford to rest on its laurels. The Rome Opera, for example, is facing bankruptcy—and this was the house that offered the world premieres of both Cavelleria Rusticana and Tosca! We all compete for the same new audience members and the same new donors. If we are not working actively now, we will lose out to an organization that is.

II n'y a qu'un bonheur dans la vie, c'est d'aimer et d'être aimé," André said. Marcy studied him. "What does that mean?" she asked. "It is a quote from the famous French novelist, Baroness Dudevant. "There is only one happiness in life, to love and be loved.

La Belle Époque was a cabaret dance hall, much like the famous Moulin Rouge and Folies Bergere. We didn’t know that the evening's Beauty Pageant was a competition for The Lady Boy of Paris. The winner would proceed to compete at a flamboyant gala Lady Boy of the Year Award, held in Berlin on New Year's Eve.

Larry King Larry King is one of the premier figures in American broadcasting, and his show, Larry King Live, on CNN, is one of the longest-running television programs currently on the air. The summer of 2007 will mark his fiftieth anniversary in broadcasting. I first met Princess Diana at a party in Los Angeles. As at so many parties in LA, there were famous people from all walks of life--actors, broadcasters, executives, authors, politicians, journalists. But there was only one princess, and she stood out from the crowd, talking and smiling and taking the time to give each person some personal attention. I kept her in the corner of my eye, waiting for an opportunity to talk to her. But she was spending so much time with every guest! Eventually, I made my way over to where she stood, and waited for a chance to finally meet this illustrious lady. Her pictures did not do her justice. I had seen her many times on TV and in the papers, of course, but seeing her in person was a whole new experience. She was absolutely beautiful. Her face was radiant, animated and full of life. She had honesty in her eyes, which made her approachable, and she had this uncanny ability to make everyone around her comfortable. I have interviewed thousands of people in my career, and this is a quality that I’ve always known is essential for a broadcaster. But for Diana, it seemed to come completely naturally. Within the first five seconds of meeting her, I felt like we had been friends for years. It was a big party and she was the star. Everybody wanted to talk to her. Not a big surprise--after all, she had interesting things to say about so many different topics. I always respected her work with land mines and AIDS, I knew her importance to the fashion world, and her role as a princess in the Royal Family made her one of the hottest topics of the tabloids. Yet she chatted about her sons and her friends with everybody--Diana was an extraordinary woman with an unassuming air, and it was an absolute pleasure to be in her presence. When we were introduced, her eyes lit up and she grabbed my hand. She said, “Oh, you’re Larry from the telly!” We laughed and spoke for a little while about our families, and I was amazed at how well she remembered all of the little details I mentioned. After all of the people she had met that night, she was bright-eyed and curious about everything. My only regret from the first time we met was that we didn’t have a few more hours to talk! I blushed when she mentioned a few interviews I had done earlier in the year. I didn’t know she had seen me on CNN. It was a warm, friendly greeting that I will never forget.

I weave through LA's famous Farmers Market, which is really more of an outdoor food court, and now I'm a few minutes late. And the place is packed and there's still the uncertainty about where to meet when I look down and realize I'm wearing yellow pants. Yellow pants. Really? Sometimes I don't know what I'm thinking. They're rolled at the cuff and paired with a navy polo and it looks like maybe I just yacht my yacht, and I'm certain to come off as an asshole. I thin about canceling, or at least delaying so I can go home and change, but the effort that would require is unappealing, and this date is mostly for distraction. And when I round the last stall--someone selling enormous eggplants, more round than oblong, I see him, casually leaning against a wall, and something inside my body says there you are. 'There you are.' I don't understand them, these words, because they seem too deep and too soulful to attach to the Farmers Market, this Starbucks or that, a frozen yogurt place, or confusion over where to meet a stranger. They're straining to define a feeling of stunning comfort that drips over me, as if a water balloon burst over my head on the hottest of summer days. My knees don't buckle, my heart doesn't skip, but I'm awash in the warmth of a valium-like hug. Except I haven't taken a Valium. Not since the night of Lily's death. Yet here is this warm hug that makes me feel safe with this person, this Byron the maybe-poet, and I want it to stop. This--whatever this feeling is--can't be a real feeling, this can't be a tangible connection. This is just a man leaning against a stall that sells giant eggplants. But I no longer have time to worry about what this feeling is, whether I should or shouldn't be her, or should or should't be wearing yellow pants, because there are only maybe three perfect seconds where I see him and he has yet to spot me. Three perfect seconds to enjoy the calm that has so long eluded me. 'There you are.' And then he casually lifts his head and turns my way and uses one foot to push himself off the wall he is leaning agains. We lock eyes and he smiles with recognition and there's a disarming kindness to his face and suddenly I'm standing in front of him. 'There you are.' It comes out of my mouth before I can stop it and it's all I can do to steer the words in a more playfully casual direction so he isn't saddled with the importance I've placed on them. I think it comes off okay, but, as I know from my time at sea, sometimes big ships turn slowly. Byron chuckles and gives a little pump of his fist. 'YES! IT'S! ALL! HAPPENING! FOR! US!' I want to stop in my tracks, but I'm already leaning in for a hug, and he comes the rest of the way, and the warm embrace of seeing him standing there is now an actual embrace, and it is no less sincere. He must feel me gripping him tightly, because he asks, 'Is everything okay?' No. 'Yes, everything is great, it's just...' I play it back in my head what he said, the way in which he said it, and the enthusiasm which only a month had gone silent. 'You reminded me of someone is all.' 'Hopefully in a good way.' I smile but it takes just a minute to speak. 'In the best possible way.' I don't break the hug first, but maybe at the same time, this is a step. jenny will be proud. I look in his eyes, which I expect to be brown like Lily's but instead are deep blue like the waters lapping calmly against the outboard sides of 'Fishful Thinking.' 'Is frozen yogurt okay?' 'Frozen yogurt is perfect.

Through the decade of the 1880s and into the early 1890s, Tolstoy and Fedorov met many times, and Tolstoy frequently refers to him in his letters and notebooks. For Tolstoy these were years of spiritual unrest. Never a complacent person unaware of his own self-development, Tolstoy in the late 1870S and early 1880s was passing through a stage of especially intense spiritual torment and particularly ruthless self-examination. His earlier religious faith, never terribly strong, had collapsed utterly, and he was seeking a new faith to live by. That he could not live a life strictly consistent with his deeply felt (and widely publicized) principles had always troubled him, and now tormented him. He had turned against the ideal of family life that he had so memorably depicted in War and Peace, but he still lived as-and at times very much enjoyed being-a family man. Theoretically he had turned against his own social class and against all art that did not illustrate some simple moral truth-and yet his biographers give us a charming picture of Tolstoy at age fifty and his old aesthetic and ideological enemy Turgenev, age sixty, sitting at opposite ends of a child's teeter-totter, seesawing up and down as children from the neighborhood laugh and applaud. Even during his famous "peasant" phase, in which he allowed himself to be portrayed by the artist Repin à la moujik behind a plow, we learn from his wife's diary that under his peasant smock he always wore silk underwear.

Chapter 1 A lot of people lounge by pools in L.A., but few of them are truly immortal, no matter how hard they pretend with plastic surgery and exercise. Doyle was truly immortal and had been for over a thousand years. A thousand years of wars, assassinations, and political intrigue, and he’d been reduced to being eye candy in a thong bathing suit by the pool of the rich and famous. He lay at the edge of the pool, wearing almost nothing. Sunlight glittered across the blue, blue water of the pool. The light broke in a jagged dance across his body, as if some invisible hand stirred the light, turning it into a dozen tiny spotlights that coaxed Doyle’s dark body into colors I’d never known his skin could hold. He wasn’t black the way a human being is black, but more the way a dog is black. Watching the play of light on his skin, I realized I’d been wrong. His skin gleamed with blue highlights, a shine of midnight blue along the long muscular sweep of his calf, a flare of royal blue like a stroke of deep sky touched his back and shoulder. Purple to shame the darkest amethyst caressed his hip. How could I ever have thought his skin monochrome? He was a miracle of colors and light, strapped across a body that rippled and moved with muscles honed in wars fought centuries before I was born.

Ruin and desolation were everywhere. Gates, with his Council, on July 7, 1610, wrote that Jamestown seemed "raither as the ruins of some auntient [for]tification, then that any people living might now inhabit it...." Gates promptly distributed provisions, such as he had, and introduced a code of martial law, the code that was strengthened later by De La Warr and made famous by its strict enforcement during the governorship of Sir Thomas Dale.

The view of the strange city with its peculiar architecture, such as he had never seen before, filled Napoleon with the rather envious and uneasy curiosity men feel when they see an alien form of life that has no knowledge of them. This city was evidently living with the full force of its own life. By the indefinite signs which, even at a distance, distinguish a living body from a dead one, Napoleon from the Poklonny Hill perceived the throb of life in the town and felt, as it were, the breathing of that great and beautiful body. Every Russian looking at Moscow feels her to be a mother; every foreigner who sees her, even if ignorant of her significance as the mother city, must feel her feminine character, and Napoleon felt it. "Cette ville asiatique aux innombrables eglises, Moscou la sainte. La voila done enfin, cette fameuse ville! Il etait temps," * said he, and dismounting he ordered a plan of Moscow to be spread out before him, and summoned Lelorgne d'Ideville, the interpreter. * "That Asiatic city of the innumerable churches, holy Moscow! Here it is then at last, that famous city. It was high time." "A town captured by the enemy is like a maid who has lost her honor," thought he (he had said so to Tuchkov at Smolensk). From that point of view he gazed at the Oriental beauty he had not seen before. It seemed strange to him that his long-felt wish, which had seemed unattainable, had at last been realized. In the clear morning light he gazed now at the city and now at the plan, considering its details, and the assurance of possessing it agitated and awed him.

He saw El Lagartijo—“The Lizard”—one of the most famous bullfighters in Spain, and he met Cara Ancha, the celebrated Andalusian matador. When he was only nine years old, Pablo completed his first painting, Le Picador, a portrait of a man riding a horse in the bullring. Two years later, Pablo’s family moved to a new town, La Coruña, on Spain’s Atlantic coast. Don José got a job as an art teacher at the local college. Even though he was much younger than the other students, Pablo enrolled in his father’s class. He also took courses in figure drawing and landscape painting. By the time he turned thirteen, Pablo’s skill level had surpassed his father’s. Don José was so impressed that he handed his son his brushes and vowed never to paint again. When Pablo was fourteen years old, his family moved again, this time to Barcelona, where Pablo enrolled in the prestigious School of Fine Arts. His teachers quickly noticed his skills and allowed him to skip two grades. But just as in Málaga, Pablo had trouble adhering to the school’s rules. Before long he was back to his old tricks, cutting class so that he could wander the city streets, sketching interesting scenes that he observed along the way. Pablo repeated this behavior at his next school, the Royal Academy of San Fernando in Madrid. This time, Pablo’s father refused to tolerate his son’s antics and stopped his allowance. At age sixteen, Pablo found himself on his own for the first time, forced to support himself on nothing but his artistic ability. It has been said that the older Pablo grew, the more childlike his art became. During some periods he painted almost entirely in blue or depicted only circus performers.

to become stars. He’d played outfield with Lenny Dykstra and Darryl Strawberry. He’d subbed for Mark McGwire and Jose Canseco. He’d lockered beside Rickey Henderson. In his slivers of five years in the big leagues he played for four famous managers: Sparky Andersen, Tom Kelly, Davey Johnson, and Tony La Russa. But by the end of 1989 his career stat line (301 at bats, .219 batting average, .246 on-base percentage, .296 slugging percentage, and 11 walks against 80 strikeouts) told an eloquent tale of suffering. You didn’t need to know Billy Beane at all—you only needed to read his stats—to sense that he left every on-deck circle in trouble. That he had developed neither discipline nor composure. That he had never learned to lay off a bad pitch. That he was easily fooled. That, fooled so often, he came to expect that he would be fooled. That he hit with fear. That his fear masqueraded as aggression. That the aggression enabled him to exit the batter’s box as quickly as possible. One season in the big leagues he came to the plate seventy-nine times and failed

Los Angeles was whatever you wanted it to be, and that was thanks to the constant influx of immigrants arriving with their dreams, not only from other countries, but from other states within the nation. Even its famous palm trees came from somewhere else.

Rene Descartes, the famous French philosopher, scientist, and mathematician, was born in 1596, in the village of La Haye.

Also, the royal officials have come to congratulate our lord King David, saying, ‘May your God make Solomon’s name more famous than yours and his throne greater than yours!’ And the king bowed in worship on his bed and said, ‘Praise be to the LORD, the God of Israel, who has allowed my eyes to see a successor on my throne today.

If there were captions explaining their history next to these dedications they would be proof of the richness of relationships in Panikkar’s life and of how my collection came from many directions. In order to sing my glories, I will select names of several famous authors who gave their books with dedications to Panikkar and to me: Francesco Alberoni, Hans Urs von Balthasar, Bettina Baümer, Massimo Cacciari, Enrico Castelli, Emil Cioran, Victoria Cirlot, Oscar Cullman, Jacques Albert Cuttat, Henri e Lubac, Mircea Eliade, Jean Guitton, Alois Maria Haas, Martin Heidegger, Johannes Kakichi Kadowaki, Károly Kerényi, Ursula King, Serge Latouche, Javier Meloni, Salvador Pániker, Octavio Paz, Emanuele Severino, Raniero La Valle, Amador Vega, Uma Marina Vesci,

Martoglio was also a journalist and newspaper editor. At the age of 16, he actually founded his own newspaper, naming it D’Artagnan, after the famous character from The Three Musketeers of A. Dumas and published it for fifteen years, from 1889 to 1904.4 He achieved fame for his humorous sonnets and for the biting satire with which he attacked the pomposity and corruption of his fellow Catanesi. While his biting criticism endeared him to the people of Catania, for whom Martoglio had a special affection, it caused him a number of problems with others. He was forced to fight duels with twenty-one men whose psyches he had bruised, risking injury and death. The D’Artagnan was written entirely or nearly by Martoglio under various pseudonyms. Of the many characters that he created, his Don Procopio Ballaccheri stands out. Ballaccheri, known as the “Ciciruni di Catania” (The Cicero of Catania) appeared as the main character of La Divina Commedia di Don Procopio Ballaccheri, which Martoglio serialized in his D’Artagnan.5 This wonderful satirical work written in Sicilian was recently published as a book by Salvatore Calleri.6 Ballaccheri was to be the model for Oronzo E. Marginati, which satirist Luigi Locatelli created for Il Travaso delle Idee, the most famous satiric journal in Italy.

gold standard for infrastructure, a brick house in a world of straw; those stupid raised freeways, built strong enough to withstand the Big One, had served as refugia for the entire population of the city, and the subsequent evacuation had proceeded successfully. A very impressive improvisation. Despite LA’s uneven popularity across the world, it was for sure immensely famous. The dream factory had accomplished that at least. Many people all over the world felt they knew the place, and were transfixed by the images of it suddenly inundated. If it could happen to LA, rich as it was, dreamy as it was, it could happen anywhere. Was that right? Maybe not, but it felt that way. Some deep flip in the global unconscious was making people queasy. Despite this sense that the world was falling apart, or maybe because of it, demonstrations in the capitals of the world intensified. Actually these seemed to be occupations rather than demonstrations, because they didn’t end but rather persisted as disruptions of the ordinary business of the capitals. Within the occupied spaces, people were setting up and performing alternative lifeways with gift supplies of food and impromptu shelter and

Eight floors of the kind of consumer garbage that L.A. is famous for. Need a Ferrari jacket? Sure. You’re a race car driver. Vroom vroom. Need silk designer socks that cost more than neurosurgery? We have that too. Come on down to the Beverly Center for something bright and shiny and leave feeling poorer, puzzled, and dead inside.

La Revue Nègre was a bold statement, drawing from the long history of both Black American vernacular dance and the minstrel and vaudeville theater in which Baker had performed in the United States. It contained elements of the shimmy and the shake, and challenged traditional Western European ideas of dance. “All of these moves that in the European mode would have been considered awkward become beautiful, sexy, silly, and savvy at the same time,” explains Dixon Gottschild. Later, as the performance evolved, Baker incorporated her famous banana skirt and, eventually, a pet cheetah who regularly made his way into the orchestra pit—elements that played into the idea of Baker as an exotic creature and added notes of vaudeville humor. Baker’s performances were complex, as are their legacy. Some have characterized her as a twentieth-century Sarah Baartman, another Black woman put on display for the titillation of fascinated, scandalized bourgeois white spectators. But she is often also criticized for exoticizing herself, knowingly participating in her own exploitation, playing into African stereotypes with her nudity, the banana skirt, and the cheetah. Others interpret La Revue Nègre as a means of reclaiming those stereotypes: Baker enthusiastically, and freely, participated in the performances and made lots of money doing it, and she surely understood that she was engaging with, and even subverting, stereotypes of Black femininity. She was also funny, and her performances always contained elements of humor and parody. From her early days as a chorus girl, she would add an element of knowingness by feigning being a bad dancer onstage for a laugh. She may have been sexualized and objectified by her largely white audience in Paris, but she also maintained significant control over what she was doing.

You feel these men with their photographs in magazines care deeply about having their photographs in magazines. Derive immense meaning.' 'I do. They must. I would. Else why would I burn like this to feel as they feel?' 'The meaning they feel, you mean. From the fame.' 'Lyle don't they?' ... 'LaMont, perhaps they did at first. The first photograph, the first magazine, the gratified surge, the seeing themselves as others see them, the hagiography of image, perhaps. Perhaps the first time: enjoyment. After that, do you trust me, trust me: they do not feel what you burn for. After the first surge, they care only that their photographs seem awkward or unflattering, or untrue, or that their privacy, this thing you burn to escape, what they call their privacy is being violated. Something changes. After the first photograph has been in a magazine, the famous men do not enjoy their photographs in magazines so much as they fear that their photographs will cease to appear in magazines. They are trapped, just as you are.' 'Is this supposed to be good news? This is awful news.' 'LaMont, are you willing to listen to a Remark about what is true?' 'Okey-dokey.' 'The truth will set you free. But not until it is finished with you.' "maybe I ought to be getting back.' 'LaMont, the world is very old. You have been snared by something untrue. You are deluded. But this is good news. You have been snared by the delusion that envy has a reciprocal. You assume that there is a flip-side to your painful envy of Michael Change: namely Micheal Change's enjoyable feeling of being-envied-by-LaMong-Chu. No such animal.' 'Animal?' 'You burn with hunger for food that does not exist.' 'The burning doesn't go away?' 'What fire dies when you feed it?' ... 'Would I sound ungrateful if I said this doesn't make me feel very much better at all?' "LaMont, the truth is that the world is incredibly, incredibly, unbelievably old. You suffer with the stunted desire caused by one of its oldest lies. Do not believe the photographs. Fame is not the exit from any cage' 'So I'm stuck in the cage from either side Fame or tortured envy of fame. There's no way out.' 'You might consider how escape from a cage must surely require, foremost, awareness of the fact of the cage. And I believe I see a drop on your temple, right ... there ....' Etc.

Celebrities?” “They’re the famous people of this world. They’re mostly actors, singers, musicians. ‘Stars,’ we call them. Like... instead of the stars we look up to in the sky, they’re the people we look up to.

the island of Java, in Indonesia, and at Malabar, in southern India, Polo saw vast quantities of spices – including various kinds of pepper – on their way to the West. It is this incident which seems to have inspired the inventor of the dish which bears Polo’s name. “Duck à la Marco Polo” was first prepared and served at the famous Parisian restaurant La Tour d’Argent – one of the oldest restaurants in the world, facing the river Seine and the Cathedral of Notre Dame.

What’s your constraint?” I said, using some newly acquired memoir-writer lingo. He ignored the question. “I’m a career yearner. Women rule me. Of course, some of the material was covered in my first memoir, but this book more specifically parses my search for atonement in women.” Everyone in L.A. knew that Spade was a big-league, serial pussy hound. L.A. County was a veritable body dump of his exes. Maggie had bolted out of town not long after last year’s book fest, taking a teaching gig in a faraway state. An editor I knew was still haunted by a brief fling she had had with Spade back in the ’90s. There were literary ladies stretched from Santa Monica to San Francisco whom he had famously romanced, rolled, and rooked over the years. I didn’t know much more about his pursuit of women, other than it had left a high body count.

Just as language is a system of signs which have meaning only in relation to one another, and each of which has its own usage throughout the whole language, so each institution is a symbolic system that the subject takes over and incorporates as a style of functioning, as a global configuration, without having any need to conceive it at all. When equilibrium is destroyed, the reorganizations which take place comprise, like those of language, an internal logic even though it may not be clearly thought out by anyone. They are polarized by the fact that, as participants in a system of symbols, we exist in the eyes of one another, with one another, in such a way that changes in language are due to our will to speak and to be understood. The system of symbols affects the molecular changes which occur where a meaning develops, a meaning which is neither a thing nor an idea, in spite of the famous dichotomy, because it is a modulation of our coexistence. It is in this way, as is also true of logics of behavior, that the forms and processes of history, the classes, the epochs, exist. We were asking ourselves where they are. They are in a social, cultural, or symbolic space which is no less real than physical space and is, moreover, supported by it. For meaning lies latent not only in language, in political and religious institutions, but in modes of kinship, in machines, in the landscape, in production, and, in general, in all the modes of human commerce. An interconnection among all these phenomena is possible, since they are all symbolisms, and perhaps even the translation of one symbolism into another is possible.

Escoffier reduced the number of courses, developed the à la carte menu, introduced lighter sauces, and eliminated the most ostentatious of the food displays. He also simplified the menu and completely reorganized the professional kitchen, integrating it into a single unit. Women approved, and he approved of them, creating dishes for some of his most famous diners, including Sarah Bernhardt (Fraises Sarah Bernhardt) and the Australian singer Nellie Melba, who garnered two creations in her honor—Peach Melba and Melba Toast.

Chief Inspector Littlejohn, the famous Scotland Yard detective, and his wife have just arrived on holiday at La Reserve, Juan-les-Pins. It appeared sandwiched between a paragraph about a man who had bought a villa at Bormes-les-Mimosas and moved in with a large retinue, and another about an acrobat who had murdered his mistress and then cut his own throat. ‘That’s torn it,’ said Littlejohn when he read it. ‘There’ll be an outbreak of crime right away.

However, the power difference between economic establishments and outsiders in societies where there is a fairly free market for supply and demand and even, in some areas, for professional appointments, is much less than that between absolute rulers or their councillors and their court musicians — even though artists who were famous and à la mode could take some liberties.

The famous philosopher Aristotle once said, “It is the mark of an educated mind to be able to entertain a thought without accepting it.

When we lived in Minneapolis, you weren’t begging to do photo shoots with strange people. Just because we live in LA now doesn’t mean you need to be different. It also doesn’t mean you’re suddenly famous.

Hollywood Boulevard at night was a dream in neon. Mickey cruised along the strip, colorful lights blurring by like hallucinations. On his right, the El Capitan Theatre lured customers in like a Vegas casino, while the Walk of Fame preserved stardom on his left. Tourists bustled beneath the blinking signs like extras in the giant story of this land of stories, hoping for a real-life glimpse of that other world just behind the veneer of this place. In the ’50s, Hollywood Boulevard had looked different—less buildings, less vehicles, less pedestrians—but the aura of the strip, the energy, hadn’t changed at all.

Alexander Dumas, pere, whose son created the most famous consumptive of all in La Dame aux Camelias, observed in 1847 that “frail pale women come to Nice to die,” and he criticized the townsfolk for “living at the expense of the sick foreigners.

The capital city of the Dominican Republic is Santo Domingo, founded in 1496 by Bartholomew Columbus, Christopher’s brother. Rafael Leónidas Trujillo served as President from 1930 to 1938 and again from 1942 to 1952, continuing to rule for the rest of the time as an unelected strongman using figurehead presidents. He renamed the capital city of the Dominican Republic to Ciudad Trujillo after himself. His régime lasted for over thirty years, until his assassination on May 30, 1961, while riding in his car on the outskirts of the city. After he was gunned down, his riddled body was taken to France and interred in the famous Père Lachaise Cemetery in Paris, bringing to an end “La Era de Trujillo.” Six years later Trujillo’s body was moved to the El Pardo Cemetery near Madrid, Spain, where it now rests.

Anyone in search of chocolate eventually makes the pilgrimage to Ladurée, the world-famous tea salon just off the place de la Madeleine.

Obama, who, I believe, is a Muslim and was ushered into office with the help of Saudi petrodollars, will do what he is famous for: he will dither. He

Paul Child came on stage and made two batches of one of his famous drinks, which he called, whimsically, à la recherche de l’orange perdue. It was delicious, and we consumed both batches. The ingredients give a fair idea of our mental condition afterward: 6 tablespoons dark Jamaican rum 9 tablespoons dry white vermouth 2 teaspoons bottled sweetened lime juice Juice of 1 lime 1 tablespoon orange marmalade 1 whole seedless orange, quartered 5 shakes orange bitters 1 cup ice cubes

Zahara de la Sierra is a picturesque village of whitewashed houses famously known as pueblos blancos. Tourists flock to the town for breathtaking views of the surrounding mountains and the clear, turquoise waters of the Zahara-El Gastor reservoir—not to mention the scintillating