Godfather Novel Quotes

I'm gonna make him an offer he can't refuse.

Chang Geng could no longer lie to himself. This time, in his dream, he had truly and unreservedly been…he had truly and unreservedly been defiling his young godfather.

Then I realized that I was falling victim to one of the fallacies of the bad reviewer (whose habits we already discussed at length in yesterday’s commentary). I was wishing that Hamid had written a different book than he had. How I might have written this story is completely irrelevant. It would be like dismissing The Godfather because I wished it were a musical. The novel needs to be considered on its own terms.

As I write this note, it is May 2020, and the world is battling the coronavirus pandemic. My husband’s best friend, Tom, who was one of the earliest of our friends to encourage my writing and who was our son’s godfather, caught the virus last week and has just passed away. We cannot be with his widow, Lori, and his family to mourn. Three years ago, I began writing this novel about hard times in America: the worst environmental disaster in our history; the collapse of the economy; the effect of massive unemployment. Never in my wildest dreams did I imagine that the Great Depression would become so relevant in our modern lives, that I would see so many people out of work, in need, frightened for the future. As we know, there are lessons to be learned from history. Hope to be derived from hardships faced by others. We’ve gone through bad times before and survived, even thrived. History has shown us the strength and durability of the human spirit. In the end, it is our idealism and our courage and our commitment to one another—what we have in common—that will save us. Now, in these dark days, we can look to history, to the legacy of the Greatest Generation and the story of our own past, and take strength from it.

As I write this note, it is May 2020, and the world is battling the coronavirus pandemic. My husband’s best friend, Tom, who was one of the earliest of our friends to encourage my writing and who was our son’s godfather, caught the virus last week and has just passed away. We cannot be with his widow, Lori, and his family to mourn. Three years ago, I began writing this novel about hard times in America: the worst environmental disaster in our history; the collapse of the economy; the effect of massive unemployment. Never in my wildest dreams did I imagine that the Great Depression would become so relevant in our modern lives, that I would see so many people out of work, in need, frightened for the future. As we know, there are lessons to be learned from history. Hope to be derived from hardships faced by others. We’ve gone through bad times before and survived, even thrived. History has shown us the strength and durability of the human spirit. In the end, it is our idealism and our courage and our commitment to one another—what we have in common—that will save us. Now, in these dark days, we can look to history, to the legacy of the Greatest Generation and the story of our own past, and take strength from it. Although my novel focuses on fictional characters, Elsa Martinelli is representative of hundreds of thousands of men, women, and children who went west in the 1930s in search of a better life. Many of them, like the pioneers who went west one hundred years before them, brought nothing more than a will to survive and a hope for a better future. Their strength and courage were remarkable. In writing this story, I tried to present the history as truthfully as possible. The strike that takes place in the novel is fictional, but it is based on strikes that took place in California in the thirties. The town of Welty is fictional as well. Primarily where I diverged from the historical record was in the timeline of events. There are instances in which I chose to manipulate dates to better fit my fictional narrative. I apologize in advance to historians and scholars of the era. For more information about the Dust Bowl years or the migrant experience in California, please go to my website KristinHannah.com for a suggested reading list.

He had based much of The Godfather on a 1910 Western classic, “a book I read when I was a kid, Zane Grey’s Heritage of the Desert,” he said. His novel would represent a new form of Western with a new style of outlaw justice and at the perfect time.

I am the Godfather of determination.

his five-decade dictatorial control of the FBI to transform the agency into a vehicle for shielding organized crime, fortifying his corrupt political partners, oppressing Black Americans, surveilling his political enemies, suppressing free speech and dissent, and as a platform for building a cult of personality around his own inflated ego. More recently, Dr. Fauci’s perennial biographer, Charles Ortleb, analogized Dr. Fauci’s career and pathological mendacity to the sociopathic con men Bernie Madoff and Charles Ponzi.37 Another critic, author J. B. Handley, labeled Dr. Fauci “a snake oil salesman” and a “bigger medical charlatan than Rasputin.”38 Economist and author Peter Navarro, former Director of Trade and Manufacturing Policy, observed during a national network television interview in April 2021 that “Fauci is a sociopath and a liar.”39 His white lab coat, his official title, and his groaning bookshelves crowded with awards from his medical cartel collaborators allow Dr. Fauci to masquerade as a neutral, disinterested scientist and selfless public servant driven by a relentless commitment to public health. But Dr. Fauci doesn’t really do public health. By every metric, his fifty-year regime has been a catastrophe for American health. But as a businessman, his success has been boundless. In 2010, Dr. Fauci told adoring New Yorker writer Michael Specter that his go-to political playbook is Mario Puzo’s novel The Godfather.40 He spontaneously recited his favorite line from Puzo’s epic: “It’s nothing personal, it’s strictly business.

In 2010, Dr. Fauci told adoring New Yorker writer Michael Specter that his go-to political playbook is Mario Puzo’s novel The Godfather.40 He spontaneously recited his favorite line from Puzo’s epic: “It’s nothing personal, it’s strictly business.

A strange and discordant mix of roles followed. I liked one film I did, The Humbling, because I did it with Barry Levinson. It was based on the novel by Philip Roth, who I met at a party in New York. I found Roth there, sitting in a chair, and he was very serious when he looked at me. I said, “Hi, Mr. Roth. I’m Al Pacino.” He had a look on his face that was haunting. In a cold, impassive voice, he said, “I. Know. Who you are.” I just thought to myself, Well, I’m famous. He’s seen me in films. Maybe he saw The Godfather, I don’t know. But I loved his writing and was a real fan, so I kept spouting to him. I said, “I’m doing a film of your book The Humbling. And it’s very funny.” In that same funereal voice as before, he said, “It’s. Not. Funny.” I said, “No, I know, it’s not really funny. But to get through the drama, sometimes you need a little funny.” Again, he said, “It’s. Not. Funny.” I said, “Sure. Okay. You’re right. It’s not funny.” And I backed out of the room into the street.

He started by reading The Godfather novel and capturing the parts that resonated with him in a notebook—his own version of Twyla Tharp’s box. But his prompt book went beyond storage: it was the starting point for a process of revisiting and refining his sources to turn them into something new. The book was made from a three-ring binder, into which he would cut and paste pages from the novel on which the film was based. It was designed to last, with reinforced grommets to ensure the pages wouldn’t tear even after many turnings. There he could add the notes and directions that would later be used to plan the screenplay and production design of the film.

while we’re at it, please can Quaker Oats ban Ethan Frome from the curriculum altogether? It’s a snoozefest of repressed, milquetoast characters, all building up to the climax of—no joke—a toboggan ride. We should end on the Whartonian high of The Age of Innocence, which is probably the best novel set in New York City, ever. It’s about rich white people planning hits and takedowns at fancy balls like it’s The Godfather. Even though The Age of Innocence was written a hundred years ago, you just know that Edith Wharton knew what was up.

Yes, I suppose so,” said Lord Pomfret. “Though I admit I did not kiss old women in cottages, or young women either. In fact no one till I met you, Sally. I don’t count Rosina.” “And who on earth is Rosina?” said his countess, curious but quite unmoved by his confession. “One of my best friends,” said Lord Pomfret. “She was cook and everything else in the house my father had in Italy and she looked after it when he was in England. She was rather kind to me when I was a boy. I think she was sorry for me not having a mother. She married the inn-keeper’s son and has twelve children. I believe I’m godfather to one of them, but I couldn’t get out to the christening, so the Sindaco, a sort of Mayor, took my place. I rather think he was the baby’s father.” “Gillie! you never told me that before,” said his wife indignantly. “Did they call the baby Gillie? Or I suppose it would be Giglio.” “Certainly not,” said Lord Pomfret. “They called it Antonio after the local poacher. I daresay he was its father too. You never know.

AS COPPOLA MINED Puzo’s novel for themes and characters, he found himself particularly drawn to Amerigo Bonasera. Here was an Italian immigrant who tended to the dead, begging Don Corleone for more death. “Good scene,” he wrote in the margin of his prompt book.