Index Of Famous Quotes

...the most important aspects of someone’s life are the very things not listed in an index.' There were never entries for “memory,” or 'regrets,' or even 'love,' in the lowercase. It was always 'Education (post-secondary)' or 'Awards (see also: Best Debut R&B Country CD by a Female Artist, Solo).' Indexes never seemed to get to the heart of the matter. There was never a heading for hope or fear. Or dreams, recalled. Smiles, remem­ bered. Anger. Beauty. Or even images that lingered, glimpses of something that had made an impression. A doorway. A window. A reflection on glass. The smell of rain. Never any of that. Just a tally of proper nouns and famous names. And why only one life? Why not the web of other lives that define us? What of their indexes, their moments?

The Russian-born novelist's writing habits were famously peculiar. Beginning in 1950, he composed first drafts in pencil on ruled index cards, which he stored in long file boxes. Since Nabokov claimed, he pictured an entire novel in complete form before he began writing it, this method allowed him to compose passages out of sequence, in whatever order he pleased...

If you buy an S&P 500 index fund, your investment is highly diversified and its performance will match that of 500 leading U.S. corporations' stocks. Is it possible to lose all of your money? Yes, but the odds of that happening are slim and none. If 500 leading U.S. corporations all have their stock prices plummet to zero, the value of your investment portfolio will be the least of your problems. An economic collapse of that magnitude would make the Great Depression look like Lifestyles of the Rich and Famous.

This pointing-hand gesture—with its index finger and thumb extended upward—is a well-known symbol of the Ancient Mysteries, and it appears all over the world in ancient art. This same gesture appears in three of Leonardo da Vinci’s most famous encoded masterpieces—The Last Supper, Adoration of the Magi, and Saint John the Baptist. It’s a symbol of man’s mystical connection to God.” As above, so below. The madman’s bizarre choice of words was starting to feel more relevant now. “I’ve never seen it before,” Sato said. Then watch ESPN, Langdon thought, always amused to see professional athletes point skyward in gratitude to God after a touchdown or home run. He wondered how many knew they were continuing a pre-Christian mystical tradition of acknowledging the mystical power above, which, for one brief moment, had transformed them into a god capable of miraculous feats.

Fear is historically the strongest emotion in economics. Remember FDR in the Great Depression? It’s the most famous quote in financial history: “The only thing we have to fear is fear itself.” In fact fear is probably the strongest human emotion, period. Whoever woke at four in the morning because they were feeling happy?

A prime example of this is a Vatican fresco by Raphael, the Italian artist who was Leonardo’s young follower. His School of Athens, painted around the time that Leonardo was turning sixty, depicts two dozen ancient philosophers standing in discourse. At the center is Plato, striding alongside Aristotle (fig. 120). Raphael used his contemporaries as models for most of the philosophers, and Plato looks to be a depiction of Leonardo. He wears a rose-colored toga, matching the colorful tunics that Leonardo famously sported. As in the Melzi portrait and others of Leonardo, Plato is balding, with wisps of curly hair on top and curls flowing in waves from the side of his head to his shoulder. There is also the curly beard, coming down to the top of his chest. And he is making a gesture characteristic of Leonardo: his right index finger is pointing up to the heavens.

Quote from "The Dish Keepers of Honest House" ....TO TWIST THE COLD is easy when its only water you want. Tapping of the toothbrush echoes into Ella's mind like footsteps clacking a cobbled street on a bitter, dry, cold morning. Her mind pushes through sleep her body craves. It catches her head falling into a warm, soft pillow. "Go back to bed," she tells herself. "You're still asleep," Ella mumbles, pushes the blanket off, and sits up. The urgency to move persuades her to keep routines. Water from the faucet runs through paste foam like a miniature waterfall. Ella rubs sleep-deprieved eyes, then the bridge of her nose and glances into the sink. Ella's eyes astutely fixate for one, brief millisecond. Water becomes the burgundy of soldiers exiting the drain. Her mouth drops in shock. The flow turns green. It is like the bubbling fungus of flockless, fishless, stagnating ponds. Within the iridescent glimmer of her thinking -- like a brain losing blood flow, Ella's focus is the flickering flashing of gray, white dust, coal-black shadows and crows lifting from the ground. A half minute or two trails off before her mind returns to reality. Ella grasps a toothbrush between thumb and index finger. She rests the outer palm against the sink's edge, breathes in and then exhales. Tension in the brow subsides, and her chest and shoulders drop; she sighs. Ella stares at pasty foam. It exits the drain as if in a race to clear the sink of negativity -- of all germs, slimy spit, the burgundy of imagined soldiers and oppressive plaque. GRASPING THE SILKY STRAND between her fingers, Ella tucks, pulls and slides the floss gently through her teeth. Her breath is an inch or so of the mirror. Inspections leave her demeanor more alert. Clouding steam of the image tugs her conscience. She gazes into silver glass. Bits of hair loosen from the bun piled at her head's posterior. What transforms is what she imagines. The mirror becomes a window. The window possesses her Soul and Spirit. These two become concerned -- much like they did when dishonest housekeepers disrupted Ella's world in another story. Before her is a glorious bird -- shining-dark-as-coal, shimmering in hues of purple-black and black-greens. It is likened unto The Raven in Edgar Allan Poe's most famous poem of 1845. Instead of interrupting a cold December night with tapping on a chamber door, it rests its claws in the decorative, carved handle of a backrest on a stiff dining chair. It projects an air of humor and concern. It moves its head to and fro while seeking a clearer understanding. Ella studies the bird. It is surrounded in lofty bends and stretches of leafless, acorn-less, nearly lifeless, oak trees. Like fingers and arms these branches reach below. [Perhaps they are reaching for us? Rest assured; if they had designs on us, I would be someplace else, writing about something more pleasant and less frightening. Of course, you would be asleep.] Balanced in the branches is a chair. It is from Ella's childhood home. The chair sways. Ella imagines modern-day pilgrims of a distant shore. Each step is as if Mother Nature will position them upright like dolls, blown from the stability of their plastic, flat, toe-less feet. These pilgrims take fate by the hand. LIFTING A TOWEL and patting her mouth and hands, Ella pulls the towel through the rack. She walks to the bedroom, sits and picks up the newspaper. Thumbing through pages that leave fingertips black, she reads headlines: "Former Dentist Guilty of Health Care Fraud." She flips the page, pinches the tip of her nose and brushes the edge of her chin -- smearing both with ink. In the middle fold directly affront her eyes is another headline: "Dentist Punished for Misconduct." She turns the page. There is yet another: "Dentist guilty of urinating in surgery sink and using contaminated dental instruments on patients." This world contains those who are simply insane! Every profession has those who stray from goals....

Every human being with normal mental and emotional faculties longs for more. People typically associate their longing for more with a desire to somehow improve their lot in life—to get a better job, a nicer house, a more loving spouse, become famous, and so on. If only this, that, or some other thing were different, we say to ourselves, then we’d feel complete and happy. Some chase this “if only” all their lives. For others, the “if only” turns into resentment when they lose hope of ever acquiring completeness. But even if we get lucky and acquire our “if only,” it never quite satisfies. Acquiring the better job, the bigger house, the new spouse, or world fame we longed for may provide a temporary sense of happiness and completeness, but it never lasts. Sooner or later, the hunger returns. The best word in any language that captures this vague, unquenchable yearning, according to C. S. Lewis and other writers, is the German word Sehnsucht (pronounced “zane-zookt”).[9] It’s an unusual word that is hard to translate, for it expresses a deep longing or craving for something that you can’t quite identify and that always feels just out of reach. Some have described Sehnsucht as a vague and bittersweet nostalgia and/or longing for a distant country, but one that cannot be found on earth. Others have described it as a quasi-mystical sense that we (and our present world) are incomplete, combined with an unattainable yearning for whatever it is that would complete it. Scientists have offered several different explanations for this puzzling phenomenon—puzzling, because it’s hard to understand how natural processes alone could have evolved beings that hunger for something nature itself doesn’t provide.[10] But this longing is not puzzling from a biblical perspective, for Scripture teaches us that humans and the entire creation are fallen and estranged from God. Lewis saw Sehnsucht as reflective of our “pilgrim status.” It indicates that we are not where we were meant to be, where we are destined to be; we are not home. Lewis once wrote to a friend that “our best havings are wantings,” for our “wantings” are reminders that humans are meant for a different and better state.[11] In another place he wrote: Our lifelong nostalgia, our longing to be reunited with something in the universe from which we now feel cut off, to be on the inside of some door which we have always seen from the outside is . . . the truest index of our real situation.[12] With Lewis, Christians have always identified this Sehnsucht that resides in the human heart as a yearning for God. As St. Augustine famously prayed, “You have made us for yourself, and our hearts are restless till they find their rest in you.”[13] In this light, we might think of Sehnsucht as a sort of homing device placed in us by our Creator to lead us into a passionate relationship with him.

Wead, Doug. All the Presidents’ Children: Triumph and Tragedy in the Lives of America’s First Families. New York: Atria Books, 2003. Weidenfeld, Sheila Rabb. First Lady’s Lady: With the Fords at the White House. New York: G. P. Putnam’s Sons, 1979. West, J. B., with Mary Lynn Kotz. Upstairs at the White House: My Life with the First Ladies. New York: Warner Books, 1973. Whitcomb, John, and Claire Whitcomb. Real Life at the White House: 200 Years of Daily Life at America’s Most Famous Residence. New York: Routledge, 2002. Index The pagination of this electronic edition does not match the edition from which it was created.

On the train, he took out The Crack of the Bat and started looking over it. The book included one of Doyle’s most famous columns, about how growing up a Brooklyn Dodgers fan had been “training for liberalism”: It is the liberal’s nature not to be disappointed by human failures but to remain hopeful. Not for us the tragic view of life. “We’ll get ’em next year” is the liberal’s natural rallying cry.

In dreaming about what he would like to become or achieve, his goals are invariably highly individualistic. He must become the composer, the solo performer, the genius scientist who makes the unique discovery. If he is to be noticed at all, then he must be centre stage. If he can’t be centre stage in an area of interest, then he must withdraw and resort to vitriolic criticism. … General role models for INTPs are individualistic, creative and perhaps enigmatic people. Innovative free-thinkers who follow their own new paths are usually greatly respected. Famous historical figures who attract the INTP’s greatest respect are scientists, composers, inventors and, in society, revolutionary leaders and noble visionaries who bring about major change. Above all, individualism is the key factor, while vision is the most highly prized asset.

From ‘Kokor Hekkus the Killing Machine’, Chapter IV of The Demon Princes, by Caril Carphen (Elucidarian Press, New Wexford, Aloysius, Vega): If Malagate the Woe can be characterized by the single word ‘grim’ and Howard Alan Treesong by ‘incomprehensible’, then Lens Larque, Viole Falushe and Kokor Hekkus all lay claim to the word ‘fantastic’. Which one exceeds the other two in ‘fantasy’? It is an amusing if profitless speculation. Consider Viole Falushe’s Palace of Love, Lens Larque’s monument, the vast and incredible outrages Kokor Hekkus has visited upon humanity: such extravagances are impossible to comprehend, let alone compare. It is fair to say, however, that Kokor Hekkus has captured the popular imagination with his grotesque and eerie humor. Let us listen to what he has to say in an abstract from the famous telephoned address, The Theory and Practice of Terror, to the students of Cervantes University: “… To produce the maximum effect, one must identify and intensify those basic dreads already existing within the subject. It is a mistake to regard the fear of death as the most extreme fear. I find a dozen other types to be more poignant, such as: The fear of inability to protect a cherished dependent. The fear of disesteem. The fear of noisome contact. The fear of being made afraid. “My goal is to produce a ‘nightmare’ quality of fright, and to maintain it over an appreciable duration. A nightmare is the result of the under-mind exploring its most sensitive areas, and so serves as an index for the operator. Once an apparently sensitive area is located the operator to the best of his ingenuity employs means to emphasize, to dramatize this fear, then augment it by orders of magnitude. If the subject fears heights, the operator takes him to the base of a tall cliff, attaches him to a slender, obviously fragile or frayed cord and slowly raises him up the face of the cliff, not too far and not too close to the face. Scale must be emphasized, together with the tantalizing but infeasible possibility of clinging to the vertical surface. The lifting mechanism should be arranged to falter and jerk. To intensify claustrophobic dread the subject is conveyed into a pit or excavation, inserted head-foremost into a narrow and constricted tunnel which slants downward, and occasionally changes direction by sharp and cramping angles. Whereupon the pit or excavation is filled and subject must proceed ahead, for the most part in a downward direction.

It’s a book. Iz would give me a book. I trace the aged leather, the letters pressed into the weathered cover. Montage of a Dream Deferred by Langston Hughes. I flip open the front cover, and my blood stands still in my veins when I note the date—1951—and the famous poet’s autograph. A signed first edition. I turn to the spot slotted by an index card, a crisp contrast to the worn, fragile pages. The poem is “Harlem,” and the familiar refrain asking what happens to a dream deferred stings tears in my eyes. I can’t ever read this poem without remembering the day my cousin died in the front yard. There are some moments in life that will always haunt us, no matter how many joys follow, and that day is one of those. I’ll never forget reciting this poem in my bedroom closet to keep Jade calm while one of her brothers shot the other. Iz couldn’t know its personal significance to me, but as I read the card, I understand why he chose it. GRIP, Our brothers live so long with dreams deferred, they forget how to imagine another life. For many of them, all they know is frustration, then rage, and for too many, the violence of finally exploding. You symbolize hope, and I know you take that responsibility seriously. I hope you know I believe that, and that nothing I’ve said led you to think otherwise. Bristol’s right—our biases are our weaknesses. Few are as patient as she is to give people time to become wiser. Thank her for me, for giving me time and for encouraging you to work with me. Together, I think we will restore the dreams of many. Merry Christmas, Iz

The Greek poet Archilochus once observed that the fox knows many things, but the hedgehog knows one important thing—a phrase later made famous by the philosopher Isaiah Berlin. Bogle was the quintessential hedgehog. He always believed in one big thing with a fiery passion. He had the integrity and intellectual suppleness to shift positions, though. When he was later confronted with his change of heart on the merits of active investing, he quoted the economist John Maynard Keynes: “When the facts change, I change my mind. What do you do, sir?

RAND proved formative. Some of its employees joked that it stood for “Research And No Development,” and its intellectualism was inspiring to the young economist. The think tank’s ethos was to work on problems so hard that they might actually be unsolvable.9 Four days of the week were dedicated to RAND projects, but the fifth was free for freewheeling personal research. Ken Arrow, a famous economist, and John Nash, the game theorist immortalized in the film A Beautiful Mind, both consulted for RAND around the time Sharpe was there. The eclecticism of RAND’s research community is reflected in his first published works, which were a proposal for a smog tax and a review of aircraft compartment design criteria for Army deployments.

At the Royal Vauxhall Tavern, there are mirrors but, because of the tone of the place, they seem more flirty than licentious. An attractive man glanced at me with a smile and said cutely, Now I can’t go. Soon after, I saw him on the dance floor, whispering to his friend and nodding at me. We all knew he still had to pee. Fleeting, gently pervy interactions like that may be the closest I get to experiencing a sense of gay community. It was last call at the RVT. Famous stole away to the toilets. ‘Family Affair’ by Mary J. Blige began to play—a song meant for the start of the night. I danced on my own by the door, near the shelf of condoms and literature. I recalled another time I’d been there recently. I’d given my coat check ticket to the most boyish and poised of the bartenders, the one who moves with a distinct admixture of flirtatiousness and efficiency. He brought my jacket from the cloakroom, the blue nylon I wear when I predict I’ll end up going out, because it promises to wipe clean easily. About to hand it to me over the bar, he said, You know what…and brought himself around the hatch, with shoulders alert like a pantomime butler. He held up my jacket with alacrity to indicate I should turn around so he could slip me into it. I momentarily forgot that I don’t smile in gay bars. He both served and took the upper hand: to get into the jacket, I had to turn my back to him, and yet into the sleeves it was I who inserted. I submitted, but he received. On this night, I glanced over and saw that the bartender was busy, holding someone else’s attention in a brief exchange. He fetched them their extraneous last drink. Famous bounced forth. I caught his eye and pointed my index finger to the speakers. This song, I mouthed. Famous tilted his head. We pushed through the doors into the wind. I’d put my jacket on myself this time, without ceremony. But leaving on a good song also makes a fine exit. Mary J. Blige sang at our backs about starting the party as we took long strides down the street.

Recall that GDP, gross domestic product, the dominant metric in economics for the last century, consists of a combination of consumption, plus private investments, plus government spending, plus exports-minus-imports. Criticisms of GDP are many, as it includes destructive activities as positive economic numbers, and excludes many kinds of negative externalities, as well as issues of health, social reproduction, citizen satisfaction, and so on. Alternative measures that compensate for these deficiencies include: the Genuine Progress Indicator, which uses twenty-six different variables to determine its single index number; the UN’s Human Development Index, developed by Pakistani economist Mahbub ul Haq in 1990, which combines life expectancy, education levels, and gross national income per capita (later the UN introduced the inequality-adjusted HDI); the UN’s Inclusive Wealth Report, which combines manufactured capital, human capital, natural capital, adjusted by factors including carbon emissions; the Happy Planet Index, created by the New Economic Forum, which combines well-being as reported by citizens, life expectancy, and inequality of outcomes, divided by ecological footprint (by this rubric the US scores 20.1 out of 100, and comes in 108th out of 140 countries rated); the Food Sustainability Index, formulated by Barilla Center for Food and Nutrition, which uses fifty-eight metrics to measure food security, welfare, and ecological sustainability; the Ecological Footprint, as developed by the Global Footprint Network, which estimates how much land it would take to sustainably support the lifestyle of a town or country, an amount always larger by considerable margins than the political entities being evaluated, except for Cuba and a few other countries; and Bhutan’s famous Gross National Happiness, which uses thirty-three metrics to measure the titular quality in quantitative terms.

One index of this complexity was actually recognized by both Forster and d’Urville, though neither of them understood it at the time. This was the extraordinary proliferation of languages in Melanesia. It had been the similarity of languages across the islands of Polynesia that had first led to the idea of a single Polynesian “nation,” but no such unity exists in the islands to the west. Even today on New Caledonia—an island roughly the size of New Jersey—between thirty and forty languages are spoken. One hundred and ten languages have been recorded in the islands of Vanuatu. And in New Guinea, which is famous for being the most linguistically diverse place on earth, there are more than 950 languages belonging to a still unknown number of language families. To a linguist, what such extreme diversity indicates is depth of time. Languages are always changing—splitting and morphing and turning into new languages—and the more time they have in which to do this, the more languages there are. Consider the changes that have occurred in English just since Chaucer’s day, and then imagine what might happen if this process were to continue for, say, forty thousand years.

Now, swept along by the crowd before him and glancing at his index card where he had scribbled the correct phonetic pronunciation he desired, the president uttered his famous words: All free men, wherever they may live, are citizens of Berlin, and therefore, as a free man, I take pride in the words, “Ich bin ein Berliner.

Fortunately for investors, two substantial funds management organizations adhere to high fiduciary standards, adopted in the context of corporate cultures designed to serve investor interests. Vanguard and TIAA-CREF both operate on a not-for-profit basis, allowing the companies to make individual investor interests paramount in the funds management process. By emphasizing high-quality delivery of low-cost investment products, Vanguard and TIAA-CREF provide individual investors with valuable tools for the portfolio construction process. Ultimately, a passive index fund managed by a not-for-profit investment management organization represents the combination most likely to satisfy investor aspirations. Following Mies van der Rohe’s famous dictum—“less is more”—the rigid calculus of index-fund investing dominates the ornate complexity of active fund management. Pursuing investment with a firm devoted solely to satisfying investor interests unifies principal and agent, reducing the investment equation to its most basic form. Out of the enormous breadth and complexity of the mutual-fund world, the preferred solution for investors stands alone in stark simplicity.