Iconic Spanish Quotes

A little-known fact is that most American of icons, the open-range cattle industry, originated in El Norte and was based on Spanish precedents. A mix of arid plains, high deserts, and Mediterranean coastline, Spain bears a physical resemblance to El Norte.

If you’re in a dangerous place, call this number: (800) 273-8255. I didn’t have it, and I wish I had. It’s the National Suicide Prevention Lifeline. They also have live chat at suicidepreventionlifeline.org. It’s available 24 hours a day, 7 days a week, in both English and Spanish.

Our happiness is therefore often mortgaged to our dreams of ideal love. Whether we explain this as the influence of advertising, childhood stories, Hollywood, iconic songs, or hormones, we invest a lot in these dreams. It’s easy to see our ideal partners as the perfect solution to woes such as loneliness, lack of acceptance, economic insecurity, or the need for approval. Perhaps they hold the key to our sexual fantasies. Or they are that missing “other half” that will enable us to achieve our dreams. Right? Wrong, according to the Spanish philosopher and therapist Joan Garriga. As he writes in his book El buen amor en la pareja [The right kind of love in relationships]: “Your partner can bring you happiness, but they can’t make you happy. This is an important distinction.” In Garriga’s explanation, love and happiness are separate domains. Your happiness is your responsibility, not your partner’s. Needless to say, this flies in the face of just about every lyric we’ve ever heard in a love song!

The Jews kidnap and crucify Christian children. Jews buy Christian children to circumcise and convert them. They steal and desecrate the host. Giordano claimed that after one incident involving desecration of the host by Jews, he witnessed the boy Jesus miraculously appear on the scene and rally the local Christian population to slaughter twenty-four thousand Jews in punishment for their evil deed. He claimed that Jews abused drawings and carvings of Jesus. One tortured icon, he asserted, responded with real blood, causing forty thousand Jews to convert.20 Another Franciscan, Pedro Olligoyen, instigated a massacre of the Jews of Estella, in the Spanish kingdom of Navarre, in 1308. He led a mob to burn down the entire aljama and kill most of the resident Jews.

which a drawing imported into a text document can no longer be altered, but must be changed in the original graphics program and reintroduced into the text document.) Out of the box the Star was multilingual, offering typefaces and keyboard configurations that could be implemented in the blink of an eye for writing in Russian, French, Spanish, and Swedish through the use of “virtual keyboards”—graphic representations of keyboards that appeared on screen to show the user where to find the unique characters in whatever language he or she was using. In 1982 an internal library of 6,000 Japanese kanji characters was added; eventually Star users were able to draft documents in almost every modern language, from Arabic and Bengali to Amharic and Cambodian. As the term implied, the user’s view of the screen resembled the surface of a desk. Thumbnail-sized icons representing documents were lined up on one side of the screen and those representing peripheral devices—printers, file servers, e-mail boxes—on the other. The display image could be infinitely personalized to be tidy or cluttered, obsessively organized or hopelessly confused, alphabetized or random, as dictated by the user’s personality and taste. The icons themselves had been painstakingly drafted and redrafted so they would be instantaneously recognized by the user as document pages (with a distinctive dog-eared upper right corner), file folders, in and out baskets, a clock, and a wastebasket. Thanks to the system’s object-oriented software, the Star’s user could launch any application simply by clicking on the pertinent icon; the machine automatically “knew” that a text document required it to launch a text editor or a drawing to launch a graphics program. No system has ever equaled the consistency of the Star’s set of generic commands, in which “move,” “copy,” and “delete” performed similar operations across the entire spectrum of software applications. The Star was the epitome of PARC’s user-friendly machine. No secretary had to learn about programming or code to use the machine, any more than she had to understand the servomechanism driving the dancing golf ball to type on an IBM Selectric typewriter. Changing a font, or a margin, or the space between typed lines in most cases required a keystroke or two or a couple of intuitive mouse clicks. The user understood what was happening entirely from watching the icons or documents move or change on the screen. This was no accident: “When everything in a computer system is visible on the screen,” wrote David Smith, a designer of the Star interface, “the display becomes reality. Objects and actions can be understood purely in terms of their effects on the display.