Russian Classics Quotes

We've searched our database for all the quotes and captions related to Russian Classics. Here they are! All 100 of them:

But I think the first real change in women’s body image came when JLo turned it butt-style. That was the first time that having a large-scale situation in the back was part of mainstream American beauty. Girls wanted butts now. Men were free to admit that they had always enjoyed them. And then, what felt like moments later, boom—Beyoncé brought the leg meat. A back porch and thick muscular legs were now widely admired. And from that day forward, women embraced their diversity and realized that all shapes and sizes are beautiful. Ah ha ha. No. I’m totally messing with you. All Beyonce and JLo have done is add to the laundry list of attributes women must have to qualify as beautiful. Now every girl is expected to have Caucasian blue eyes, full Spanish lips, a classic button nose, hairless Asian skin with a California tan, a Jamaican dance hall ass, long Swedish legs, small Japanese feet, the abs of a lesbian gym owner, the hips of a nine-year-old boy, the arms of Michelle Obama, and doll tits. The person closest to actually achieving this look is Kim Kardashian, who, as we know, was made by Russian scientists to sabotage our athletes.
Tina Fey (Bossypants)
The old tale of Sleeping Beauty might end happily in French or English, but he was in Russia, and only a fool would want to live through the Russian version of any fairy tale.
Orson Scott Card (Enchantment: A Classic Fantasy with a Modern Twist)
Now every girl is expected to have Caucasian blue eyes, full Spanish lips, a classic button nose, hairless Asian skin with a California tan, a Jamaican dance hall ass, long Swedish legs, small Japanese feet, the abs of a lesbian gym owner, the hips of a nine-year-old boy, the arms of Michelle Obama, and doll tits. The person closest to actually achieving this look is Kim Kardashian, who, as we know, was made by Russian scientists to sabotage our athletes.
Tina Fey (Bossypants)
Anger was buried far too early in a young heart, which perhaps contained much good.
Fyodor Dostoevsky (The Brothers Karamazov)
Reading Dostoevsky's The Brothers Karamazov is comparable to pushing a beautiful grand piano up a very steep hill.
Kevin Ansbro
But the older he grew and the more intimately he came to know his brother, the oftener the thought occurred to him that the power of working for the general welfare – a power of which he felt himself entirely destitute – was not a virtue but rather a lack of something: not a lack of kindly honesty and noble desires and tastes, but a lack of the power of living, of what is called heart – the aspiration which makes a man choose one out of all the innumerable paths of life that present themselves, and desire that alone.
Leo Tolstoy (Anna Karenina)
Art is bad when ‘you see the intent and get put off.’ (Goethe) In Tolstoy one is unaware of the intent, and sees only the thing itself. from the book, On Retranslating A Russian Classic Anna Karenina by Leo Tolstoy
Joel Carmichael
The classic caricature of a Russian knocking back shot after shot of vodka is not a misrepresentation.
Tanya Thompson (Red Russia)
All is in a man's hands and he lets it all slip from cowardice, that's an axiom. It would be interesting to know what it is men are most afraid of. Taking a new step, uttering a new word is what they fear most… .
Fyodor Dostoevsky (Crime and Punishment)
at one time, a freethinker was a man who had been brought up in the conceptions of religion, law and morality, who reached freethought only after conflict and difficulty. But now a new type of born freethinkers has appeared, who grow up without so much as hearing that there used to be laws of morality, or religion, that authorities existed... In the old days, you see, if a man - a Frenchman, for instance- wished to get an education, he would have set to work to study the classics, the theologians, the tragedians, historians and philosophers- and you can realize all the intellectual labour involved. But nowadays he goes straight for the literature of negation, rapidly assimilates the essence of the science of negation, and thinks he's finished.
Leo Tolstoy
He read the classics, the French and the German among others, but primarily the Russian, which enchanted him with their heavy patience.
Tove Jansson (Art in Nature)
Your slave and enemy, D.Karamazov
Fyodor Dostoevsky (The Brothers Karamazov)
Kalbim içimde konuşurken ben susmayı beceremem.
Fyodor Dostoevsky (White Nights)
All music is beautiful and good, but classical music alone is food for the soul,
Georgia Le Carre (You Don't Own Me (The Russian Don, #1))
Now life is given in exchange for pain and fear, and that's the basis of the whole deception. Now man is still not what he should be. There will e a new man, happy and proud. Whoever doesn't care whether he lives or doesn't live, he himself will be God. And that other God will no longer be.' 'So, that other God does exist, in your opinion?' 'He doesn't exist, but he does exist. In the stone there' no pain, but in the fear of the stone there is pain. God is the pain of the fear of death. Whoever conquers pain and fear will himself become God.
Fyodor Dostoevsky
There are strange friendships: two friends are almost ready to eat each other, they live like that all their lives, and yet they cannot part.
Fyodor Dostoevsky
Isn't it wonderful to be able to invite Anton Chekhov into your home?
Kevin Ansbro
That aching feeling of loneliness which always overcomes us when someone dear to us surrenders to a daydream in which we have no place.
NABOKOV (Mary, Mary)
I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TV's while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a HUMAN BEING, God damn it! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!
Paddy Chayefsky (Network [Screenplay])
But she forgot nothing, and he sometimes forgot much too quickly, and, often that same day, encouraged by her composure, would laugh and frolic over the champagne, if friends stopped by. What venom must have been in her eyes at those moments yet he noticed nothing!
Fyodor Dostoevsky
I see that my presence is burdensome to you. Painful as it was for me to become convinced of it, I see that it is so and cannot be otherwise. I do not blame you, and God is my witness that, seeing you during your illness, I resolved with all my soul to forget everything that had been between us and start a new life. I do not repent and will never repent of what I have done; but I desired one thing - your good, the good of your soul - and now I see that I have not achieved it. Tell me yourself what will give you true happiness and peace in your soul. I give myself over entirely to your will and your sense of justice.
Leo Tolstoy (Anna Karenina)
There's no easier pastime than bad-mouthing the church. Much like bad-mouthing Dostoyevsky: it's true, of course, all true, but it also misses the point. The church is a thing of wonder, Dostoyevsky is a thing of wonder, and the fact that we Russians are still here—that, too, is a thing of wonder.
Maxim Osipov (Rock, Paper, Scissors: And Other Stories (New York Review Books Classics))
Ayaklarını indirdi, kolunun üzerine yan yattı ve birden kendine acımaya başladı. Gerasim'in bitişik odaya geçmesini bekledi, sonra kendini bıraktı ve çocuklar gibi ağlamaya başladı. Umarsızlığına, korkunç yalnızlığına, insanların acımasızlığına, Tanrı'nın acımasızlığına, Tanrı'nın yokluğuna ağlıyordu.
Leo Tolstoy (The Death of Ivan Ilych)
And in this silence of the dumb and these speeches of the blind, in this medley of people bound together by the same grief, terror and hope, in this hatred and lack of understanding between men who spoke the same tongue, you could see much of the tragedy of the twentieth century.
Vasily Grossman (Life and Fate (Vintage Classic Russians Series): **AS HEARD ON BBC RADIO 4** (Orange Inheritance Book 2))
There is a reason that Russian troops in both Moscow and Beslan acted in ways that maximized bloodshed; they actually aimed to maximize the fear and the horror. This is the classic modus operandi of terrorists, and in this sense it can certainly be said that Putin and the terrorists were acting in concert.
Masha Gessen
The whole detachment was so quite that I could distinctly hear all the mingling sounds of night, so full of enchanting mystery: the mournful howling of distant jackals, now like a despairing lament, now like laughter; the sonorous, monotonous song of crickets, frogs, quails; a rumbling noise whose cause baffled me and which seemed to be coming even nearer; and all of Nature's barely audible nocturnal sounds that defy explanation or definition and merge in one rich, beautiful harmony that we call the stillness of the night.
Leo Tolstoy (The Death of Ivan Ilych and Other Stories)
I believe that of the 20 million men who served under German arms from 1939 to 1945, 17 million served exclusively on the Russian front.
Wolfgang Faust (Tiger Tracks - The Classic Panzer Memoir (Wolfgang Faust's Panzer Books))
Don’t blame the mirror if your mug’s askew. —Popular saying
Nikolai Gogol (The Inspector: A Comedy in Five Acts (TCG Classic Russian Drama Series))
All the evil in man, one would think, should disappear on contact with Nature, the most spontaneous expression of beauty and goodness.
Leo Tolstoy (The Death of Ivan Ilych & Other Stories)
AMMOS FYODOROVICH No, it’s impossible to drive it out: he says his nanny hurt him as a child, and ever since then he’s given off a whiff of vodka.
Nikolai Gogol (The Inspector: A Comedy in Five Acts (TCG Classic Russian Drama Series))
Yes, Pavel Pavlovitch, the most deformed of all deformities is the abortion with noble feelings.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
It was as though an abscess that had been forming for a month past in his heart had suddenly broken. Freedom, freedom! He was free from that spell, that sorcery, that obsession!
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
There are chance meetings with strangers that interest us from the first moment, before a word is spoken.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
But I gave up caring about anything, and all the problems disappeared.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
There are three ways before her," he thought, "the canal, the madhouse, or... at last to sink into depravity which obscures the mind and turns the heart to stone.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
He looked at Sonia and felt how great was her love for him, and strange to say he felt it suddenly burdensome and painful to be so loved. Yes, it was a strange and awful sensation!
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
Don't worry. Don't worry. The Devil does none of these things. He neither smokes nor drinks nor engages in revelry, and yet he is The Devil. --Father Vasiliev, confessor to the Russian Imperial Family
Robert K. Massie (Nicholas and Alexandra: The Classic Account of the Fall of the Romanov Dynasty)
BOBCHINSKY Not bad looking, in civilian dress, walking about the room, a reflective look on his face . . . his physiognomy . . . his behavior, and up here (He waves his hand around his forehead) a lot, a lot of everything.
Nikolai Gogol (The Inspector: A Comedy in Five Acts (TCG Classic Russian Drama Series))
books that Uncle bought in Odessa or acquired in Heidelberg, books that he discovered in Lausanne or found in Berlin or Warsaw, books he ordered from America and books the like of which exist nowhere but in the Vatican Library, in Hebrew, Aramaic, Syriac, classical and modern Greek, Sanskrit, Latin, medieval Arabic, Russian, English, German, Spanish, Polish, French, Italian, and languages and dialects I had never even heard of, like Ugaritic and Slovene, Maltese and Old Church Slavonic.
Amos Oz (A Tale of Love and Darkness)
The best example of the incarnate presence of Christ to withstand worldly power is Solzhenitsyn, the most distinguished contemporary Russian writer. [...] He realized that we can be free only if we are free in our souls; that a man in a prison camp who has learned to be free inside himself is freer than the freest man, whether in the so-called free world of the West or in the ideological Marxist world of the East. One chapter in his second Gulag book is called 'The Ascent'. In that chapter he describes this process of illumination in a classic document of what it means to be liberated, to be free through Christ. St. Paul called it 'the glorious freedom of the children of God', the only authentic freedom that exists in this mortal life.
Malcolm Muggeridge (The End of Christendom)
Another letter complained about the soldiers suffering in Stalingrad, asking God why He let things like this happen to the brave German people. This letter was a classic. The godless barbarians who had forgotten the image of God in the hour of their victories, the murderers who were shooting tens of thousands of Jews and Russian prisons of without blinking an eye, suddenly now remembered that there was a God somewhere after all. Where was God when they were massacring innocent women and children in the forts of Lithuania, piling them on top of the other in huge mass graves? Why didn't they look up to Him at that hour? But at that time they were playing God themselves, with the lives of millions of "subhumans." Oh, how good it felt to hear a German Nazi clamour of God! God! This was our revenge. God was no in Stalingrad. This was the Ninth Fort for the Germans.
William W. Mishell (Kaddish for Kovno: Life and Death in a Lithuanian Ghetto 1941-1945)
Well, I maintain that we haven't one single Russian Socialist; there are none and there have never been, for all our Socialists are also landowners or divinity students. All our notorious and professed Socialists, both here and abroad, are nothing more than Liberals from the landed gentry of the serf-owning days.
Fyodor Dostoevsky
The grass grows over the graves, time overgrows the pain. The wind blew away the traces of those who had departed; time blows away the bloody pain and the memory of those who did not live to see their dear ones again—and will not live, for brief is human life, and not for long is any of us granted to tread the grass.
Mikhail Sholokhov (And Quiet Flows the Don)
MIDSUMMER: the shortest night. The year on its side. Joblard is to marry. To make that act, that avowal: St Bartholomew-the-Great. The Chemical Wedding, sponsus and sponsa, merging in song, twisting around the columns of that stone forest; celebrated here in the blending of russian stout, nigredo, with dry blackthorn cider. The risks crowd us, cackle; magpies at the window.
Iain Sinclair (White Chappell, Scarlet Tracings (Valancourt 20th Century Classics))
Nationalism and socialism as actually lived and applied in the 20th century are the same thing (and in the 18th and 19th century, nationalism was often a force for classical liberalism!). It’s all a kind of reactionary tribalism (another “ism” which becomes poisonous quickly as you up the dosage). When you nationalize an industry, you socialize it. When you socialize an industry you nationalize it. Yes, international socialism rejected this formulation. And that’s why international socialism failed! People wanted to be Germans or Russians or Italians and they wanted to be socialists. Even the Soviet Union embraced national-socialism (socialism in one country) because that 'workers of the world unite' crap wouldn't fly. After Stalin, no Communist or socialist regime failed to exploit nationalism to one extent or another.
Jonah Goldberg
Sometimes I try to imagine how I'd be if I were Polish or Russian instead of Moroccan ... Maybe I'd do ice dancing, but not in those cheapskate local competitions where you win chocolate medals and T-shirts. No, real ice skating, like in the Olympics, with the most beautiful classical music, guys from all over the world who judge your performance like they do at school, and whole stadiums to cheer even if you go splat like a steak.
Faïza Guène (Kiffe Kiffe Tomorrow: A Novel)
Before his and Pushkin's advent Russian literature was purblind. What form it perceived was an outline directed by reason: it did not see color for itself but merely used the hackneyed combinations of blind noun and dog-like adjective that Europe had inherited from the ancients. The sky was blue, the dawn red, the foliage green, the eyes of beauty black, the clouds grey, and so on. It was Gogol (and after him Lermontov and Tolstoy) who first saw yellow and violet at all. That the sky could be pale green at sunrise, or the snow a rich blue on a cloudless day, would have sounded like heretical nonsense to your so-called "classical" writer, accustomed as he was to the rigid conventional color-schemes of the Eighteenth Century French school of literature. Thus the development of the art of description throughout the centuries may be profitably treated in terms of vision, the faceted eye becoming a unified and prodigiously complex organ and the dead dim "accepted colors" (in the sense of "idées reçues") yielding gradually their subtle shades and allowing new wonders of application. I doubt whether any writer, and certainly not in Russia, had ever noticed before, to give the most striking instance, the moving pattern of light and shade on the ground under trees or the tricks of color played by sunlight with leaves.
Vladimir Nabokov (Lectures on Russian Literature)
What constitutes the freedom, the soul of an individual life, is its uniqueness. The reflection of the universe in someone’s consciousness is the foundation of his or her power, but life only becomes happiness, is only endowed with freedom and meaning when someone exists as a whole world that has never been repeated in all eternity. Only then can they experience the joy of freedom and kindness, finding in others what they have already found in themselves.
Vasily Grossman (Life and Fate (Vintage Classic Russians Series): **AS HEARD ON BBC RADIO 4** (Orange Inheritance Book 2))
But isn't it clear that bliss and envy are the numerator and denominator of that fraction known as happiness? And what sense would there be in all the numberless victims of the 200 Years War if there still remained in our life some cause for envy? But some cause did remain, because noses remained, the button noses and classical noses mentioned in that conversation on our walk, and because there are some whose love many people want, and others whose love nobody wants.
Yevgeny Zamyatin (Zamyatin: We (Unstressed Text) (Russian Studies) (Russian Texts))
I sold my chastity for a book. If I had only resisted him, would I be here now? “I want you to read to me,” he murmured as he turned to the first page. I stared at the Cyrillic script. “I can’t. I don’t know how.” Simple conversational Russian was one thing, but the complex language of Jane Austen was another. “You will learn,” he informed me. “I will help you.” A small furrow appeared between his brows as he turned his eyes to the text. “It is generally accepted that a rich man should need a wife,” he read, butchering the classic first line. I
Julia Sykes (Czar (Impossible, #8))
Zhenevyeva, we often make fun of intellectuals for their doubts, their split personalities, their Hamlet-like indecisiveness. When I was young I despised that side of myself. Now, though, I’ve changed my mind: humanity owes many great books and great discoveries to people who were indecisive and full of doubts; they have achieved at least as much as the simpletons who never hesitate. And when it comes to the crunch, they too are prepared to go to the stake; they stand just as firm under fire as the people who are always strong-willed and resolute.
Vasily Grossman (Life and Fate (Vintage Classic Russians Series): **AS HEARD ON BBC RADIO 4** (Orange Inheritance Book 2))
saw the crew of a Tiger burning up with their vehicle – each man slumped in his hatch, presumably killed by a high-explosive burst as they tried to escape. The flames rose around them, fed by their gasoline reserves, a column of orange as high as an oak tree against the sunset. I saw the crew of a Stalin, disembarked from their bogged-down vehicle in a crater, being set upon by Panzergrenadiers from a Hanomag. Our troops were venting their anger and frustration, and yet conserving their precious ammunition, by bayoneting the Russian crews and clubbing them down with entrenching spades.
Wolfgang Faust (Tiger Tracks - The Classic Panzer Memoir (Wolfgang Faust's Panzer Books))
There is an enormous body of literature, fiction and nonfiction, written about the period 1933–1945, so Alan Furst’s recommendations for reading in that era are very specific. He often uses characters who are idealistic intellectuals, particularly French and Russian, who become disillusioned with the Soviet Union but still find themselves caught up in the political warfare of the period. “Among the historical figures who wrote about that time,” Furst says, “Arthur Koestler may well be ‘first among equals.’ ” Furst suggests Koestler’s Darkness at Noon as a classic story of the European intellectual at midcentury.
Alan Furst (Night Soldiers (Night Soldiers, #1))
Rien ne peut t’émouvoir, ô jeunesse ! Tu sembles posséder tous les trésors de la terre ; la tristesse elle-même te fait sourire, la douleur te pare. Tu es sûre de toi-même et, dans ta témérité, tu clames : « Voyez, je suis seule à vivre !... » Mais les jours s’écoulent, innombrables et sans laisser de trace ; la matière dont tu es tissée fond comme cire au soleil, comme de la neige... Et – qui sait ? – il se peut que ton bonheur ne réside pas dans ta toute-puissance, mais dans ta foi. Ta félicité serait de dépenser des énergies qui ne se trouvent point d’autre issue. Chacun de nous se croit très sérieusement prodigue et prétend avoir le droit de dire : « Oh ! que n’aurais-je fait si je n’avais gaspillé mon temps ! »
Ivan Turgenev (First Love)
The great self-limitation practiced by man for ten centuries yielded, between the fourteenth and seventeenth centuries, the whole flower of the so-called "Renaissance." The root, usually, does not resemble the fruit in appearance, but there is an undeniable connection between the root's strength and juiciness and the beauty and taste of the fruit. The Middle Ages, it seems, have nothing in common with the Renaissance and are opposite to it in every way; nonetheless, all the abundance and ebullience of human energies during the Renaissance were based not at all on the supposedly "renascent" classical world, nor on the imitated Plato and Virgil, nor on manuscripts torn from the basements of old monasteries, but precisely on those monasteries, on those stern Franciscians and cruel Dominicans, on Saints Bonaventure, Anselm of Canterbury, and Bernard of Clairvaux. The Middle Ages were a great repository of human energies: in the medieval man's asceticism, self-abnegation, and contempt for his own beauty, his own energies, and his own mind, these energies, this heart, and this mind were stored up until the right time. The Renaissance was the epoch of the discovery of this trove: the thin layer of soil covering it was suddenly thrown aside, and to the amazement of following centuries dazzling, incalculable treasures glittered there; yesterday's pauper and wretched beggar, who only knew how to stand on crossroads and bellow psalms in an inharmonious voice, suddenly started to bloom with poetry, strength, beauty, and intelligence. Whence came all this? From the ancient world, which had exhausted its vital powers? From moldy parchments? But did Plato really write his dialogues with the same keen enjoyment with which Marsilio Ficino annotated them? And did the Romans, when reading the Greeks, really experience the same emotions as Petrarch, when, for ignorance of Greek, he could only move his precious manuscripts from place to place, kiss them now and then, and gaze sadly at their incomprehensible text? All these manuscripts, in convenient and accurate editions, lie before us too: why don't they lead us to a "renascence" among us? Why didn't the Greeks bring about a "renascence" in Rome? And why didn't Greco-Roman literature produce anything similar to the Italian Renaissance in Gaul and Africa from the second to the fourth century? The secret of the Renaissance of the fourteenth-fifteenth centuries does not lie in ancient literature: this literature was only the spade that threw the soil off the treasures buried underneath; the secret lies in the treasures themselves; in the fact that between the fourth and fourteenth centuries, under the influence of the strict ascetic ideal of mortifying the flesh and restraining the impulses of his spirit, man only stored up his energies and expended nothing. During this great thousand-year silence his soul matured for The Divine Comedy; during this forced closing of eyes to the world - an interesting, albeit sinful world-Galileo was maturing, Copernicus, and the school of careful experimentation founded by Bacon; during the struggle with the Moors the talents of Velasquez and Murillo were forged; and in the prayers of the thousand years leading up to the sixteenth century the Madonna images of that century were drawn, images to which we are able to pray but which no one is able to imitate. ("On Symbolists And Decadents")
Vasily Rozanov (Silver Age of Russian Culture (An Anthology))
Only those who experienced our war in the East can truly picture its scale and ferocity. There are many of us who were there; I believe that of the 20 million men who served under German arms from 1939 to 1945, 17 million served exclusively on the Russian front. Yet, the survivors are less than that number, and our experience is not readily discussed in public today. For this reason, I have written this book, which for me encapsulates the spirit of that war, with its slaughter, chaos, universal destruction and its strange bravery on all sides. I have drawn on what I experienced as a Tiger panzer crew man; nothing that I have set down here is exaggerated or confected. Some press critics have already said that this book is ‘needlessly controversial,’ ‘too provocative’ or even ‘too violent,’ comments which seem incredible when applied to a book about the East.
Wolfgang Faust (Tiger Tracks - The Classic Panzer Memoir (Wolfgang Faust's Panzer Books))
At the beginning of the twentieth century we understood the workings of nature on the scales of classical physics that are good down to about a hundredth of a millimetre. The work on atomic physics in the first thirty years of the century took our understanding down to lengths of a millionth of a millimetre. Since then, research on nuclear and high-energy physics has taken us to length scales that are smaller by a further factor of a billion. It might seem that we could go on forever discovering structures on smaller and smaller length scales. However, there is a limit to this series as with a series of nested Russian dolls. Eventually one gets down to a smallest doll, which can’t be taken apart any more. In physics the smallest doll is called the Planck length and is a millimetre divided by a 100,000 billion billion billion. We are not about to build particle accelerators that can probe to distances that small.
Stephen Hawking (Brief Answers to the Big Questions)
Then I realised that our Tiger too had cut out, and I tried to restart our motor frantically with the hand switch. I could hear that groaning voice from our turret still, and muttered dialogue between Wilf and Helmann, something about the gun. Then I saw our 88mm barrel swing around and depress in elevation, coming down over my head and pointing straight into the Stalin’s upper deck. I could actually see into the JS driver’s position through his vision slit – his lights were still on inside, and men were moving around in there, maybe struggling to restart their engine. In the next moment, we fired. I clearly saw our armour-piercing round burst through their upper armour, and enter inside the compartment. Through the Russian’s vision slit, I saw our warhead ricochet again and again inside there, flying chaotically around the confined space and bouncing off the steel walls, glowing bright red. Finally, the explosive charge in the rear of the shell detonated, in a plume of sparks.
Wolfgang Faust (Tiger Tracks - The Classic Panzer Memoir (Wolfgang Faust's Panzer Books))
Personally, I’ve never met a person who was evil in the classic Hollywood mode, who throws down happily on the side of evil while cackling, the sworn enemy of all that is good because of some early disillusionment. Most of the evil I’ve seen in the world—most of the nastiness I’ve been on the receiving end of (and, for that matter, the nastiness I, myself, have inflicted on others)—was done by people who intended good, who thought they were doing good, by reasonable people, staying polite, making accommodations, laboring under slight misperceptions, who haven’t had the inclination or taken the time to think things through, who’ve been sheltered from or were blind to the negative consequences of the belief system of which they were part, bowing to expedience and/or “commonsense” notions that have come to them via their culture and that they have failed to interrogate. In other words, they’re like the people in Gogol. (I’m leaving aside here the big offenders, the monstrous egos, the grandiose-idea-possessors, those cut off from reality by too much wealth, fame, or success, the hyperarrogant, the power-hungry-from-birth, the socio- and/or psychopathic.) But on the mundane side of things, if we want to understand evil (nastiness, oppression, neglect) we should recognize that the people who commit these sins don’t always cackle while committing them; often they smile, because they’re feeling so useful and virtuous.
George Saunders (A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life)
During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.
Charles Spencer (Erte)
I was … attacked for being a pasticheur, chided for composing “simple” music, blamed for deserting “modernism,” accused of renouncing my “true Russian heritage.” People who had never heard of, or cared about, the originals cried “sacrilege”: “The classics are ours. Leave the classics alone.” To them all my answer was and is the same: You “respect,” but I love.
Igor Fyodorovich Stravinsky
Perhaps the most energetic and persistent advocate of the claim that time is illusory is the British physicist Julian Barbour. Impressively, Barbour has managed to do interesting research in physics for decades now without any academic position, publishing dozens of papers in respected journals. He has supported himself in part by translating technical papers from Russian to English—in his spare time, tirelessly investigating the idea that time does not exist, constructing theoretical models of classical and quantum gravity in which time plays no fundamental role.
Suffer all things and strive to please Christ. Your well-wisher and servant, Tychon, Bishop of Voronezh September 1773.
G.P. Fedotov (The Way of a Pilgrim and Other Classics of Russian Spirituality)
In Lenin's view, such changes were positive: nations, as products of capitalist economic relations, fitted into classic Marxist stage theory of development. Even Stalin, who differed on the implications for Soviet policy, agreed that nations were an inescapable phase through which all humans communities must pass. Ultimately, they (like, capitalism) would be superseded, but for precapitalist societies national development and nationalist movements were treated as progressive. Lenin drew a further distinction between great-power nationalism, which oppressed others, and small-power nationalism, which formed in response o it. In places - such as Russia - that had been responsible for national and colonial oppression of others, nationalism was to be combated without mercy and torn out by the roots. Among groups that had been victims of national or colonial oppression, by contrast-such as in the tsarist imperial periphery, where Russian power had created deep economic, political, and social resentment-the Leninist approach was to build socialism while encouraging indigenous development and national differentiation.
Douglas Northrop (Veiled Empire: Gender and Power in Stalinist Central Asia)
With the meal there was karaoke. As the Chinese waiters brought the food, everyone at the restaurant sang “shanson,” the gravelly, syrupy gangster ballads that have become some of Russia’s favorite pop music. Shanson reflect the gangsters’ journeys to the center of Russian culture. These used to be underground, prison songs, full of gangster slang, tales of Siberian labor camps and missing your mother. Now every taxi driver and grocery plays them. “Vladimirsky Tsentral” is a wedding classic. Tipsy brides across the country in cream-puff wedding dresses and high, thin heels slow-dance with their drunker grooms: “The thaw is thinning underneath the bars of my cell / but the Spring of my life has passed so fast.” At the Chinese restaurant Miami Stas sang along too, but he seemed too meek, too obliging to be a gangster.
Peter Pomerantsev (Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia)
Nicholas Turgenev in his Russia and the Russians in 1847 eloquently restated the classical enlightened arguments for constitutional monarchy; but this was the voice of an old man writing in Paris.
James H. Billington (The Icon and Axe: An Interpretative History of Russian Culture)
In 1913, on the eve of World War I, the Russian mathematician Andrei Markov published a paper applying probability to, of all things, poetry. In it, he modeled a classic of Russian literature, Pushkin’s Eugene Onegin, using what we now call a Markov chain. Rather than assume that each letter was generated at random independently of the rest, he introduced a bare minimum of sequential structure: he let the probability of each letter depend on the letter immediately preceding it. He showed that, for example, vowels and consonants tend to alternate, so if you see a consonant, the next letter (ignoring punctuation and white space) is much more likely to be a vowel than it would be if letters were independent. This may not seem like much, but in the days before computers, it required spending hours manually counting characters, and Markov’s idea was quite new. If Voweli is a Boolean variable that’s true if the ith letter of Eugene Onegin is a vowel and false if it’s a consonant, we can represent Markov’s model with a chain-like graph like this, with an arrow between two nodes indicating a direct dependency between the corresponding variables: Markov assumed (wrongly but usefully) that the probabilities are the same at every position in the text. Thus we need to estimate only three probabilities: P(Vowel1 = True), P(Voweli+1 = True | Voweli = True), and P(Voweli+1 = True | Voweli = False). (Since probabilities sum to one, from these we can immediately obtain P(Vowel1 = False), etc.) As with Naïve Bayes, we can have as many variables as we want without the number of probabilities we need to estimate going through the roof, but now the variables actually depend on each other.
Pedro Domingos (The Master Algorithm: How the Quest for the Ultimate Learning Machine Will Remake Our World)
Beneath a common banner of classically liberal ideals, countless tastes and traditions may mingle and mutate into ever new and exciting flavors. Thus would be born a homeland where the Sufi dances with the Breslover round the neon jungle of Times Square, where the Baptist of Alabama nods along to the merry melodies of Klezmer, where the secular humanist combs the Christian gospels and poems of Rumi for their many pearls of wisdom, where the Guatemalan college student learns to read Marx and Luxemburg in their original German, where the Russian refugee freely markets her own art painted in the style of Van Gogh and Monet, where the Italian chef tosses up a Lambi stew for his Haitian wife’s birthday while the operas of Verdi and Puccini play on his radio, where two brothers in exile share the wine of the Galilee and Golan while listening to the oud music of Nablus and Nazareth, where the Buddhist and the stoner hike through redwood trails and swap thoughts of life and death beneath a star-spangled sky. In this America, only the polyglot sets the lingua franca, the bully pulpit yields to the poets café, decent discourse finds favor over any cocksure shouting match, no library is so uniform as to betray to a tee its owner’s beliefs, no citizen is so selfish as to live for only themself nor so weak of will as to live only for others, and such a land—as yet a dream deferred, but still a dream we may seize—such a land would truly be worthy of you and me.
Shmuel Pernicone (Why We Resist: Letter From a Young Patriot in the Age of Trump)
There have been three major slave revolts in human history. The first, led by the Thracian gladiator Spartacus against the Romans, occurred in 73 BC. The third was in the 1790s when the great black revolutionary Touissant L'Ouverture and his slave army wrested control of Santo Domingo from the French, only to be defeated by Napoleon in 1802. But the second fell halfway between these two, in the middle of the 9th century AD, and is less documented than either. We do know that the insurgents were black; that the Muslim 'Abbasid caliphs of Iraq had brought them from East Africa to work, in the thousands, in the salt marshes of the delta of the Tigris. These black rebels beat back the Arabs for nearly ten years. Like the escaped maroons in Brazil centuries later, they set up their own strongholds in the marshland. They seemed unconquerable and they were not, in fact, crushed by the Muslims until 883. They were known as the Zanj, and they bequeathed their name to the island of Zanzibar in the East Africa - which, by no coincidence, would become and remain the market center for slaves in the Arab world until the last quarter of the 19th century. The revolt of the Zanj eleven hundred years ago should remind us of the utter falsity of the now fashionable line of argument which tries to suggest that the enslavement of African blacks was the invention of European whites. It is true that slavery had been written into the basis of the classical world; Periclean Athens was a slave state, and so was Augustan Rome. Most of their slaves were Caucasian whites, and "In antiquity, bondage had nothing to do with physiognomy or skin color". The word "slave" meant a person of Slavic origin. By the 13th century it spread to other Caucasian peoples subjugated by armies from central Asia: Russians, Georgians, Circassians, Albanians, Armenians, all of whom found ready buyers from Venice to Sicily to Barcelona, and throughout the Muslim world. But the African slave trade as such, the black traffic, was a Muslim invention, developed by Arab traders with the enthusiastic collaboration of black African ones, institutionalized with the most unrelenting brutality centuries before the white man appeared on the African continent, and continuing long after the slave market in North America was finally crushed. Historically, this traffic between the Mediterranean and sub-Saharan Africa begins with the very civilization that Afrocentrists are so anxious to claim as black - ancient Egypt. African slavery was well in force long before that: but by the first millennium BC Pharaoh Rameses II boasts of providing the temples with more than 100,000 slaves, and indeed it is inconceivable that the monumental culture of Egypt could have been raised outside a slave economy. For the next two thousand years the basic economies of sub-Saharan Africa would be tied into the catching, use and sale of slaves. The sculptures of medieval life show slaves bound and gagged for sacrifice, and the first Portuguese explorers of Africa around 1480 found a large slave trade set up from the Congo to Benin. There were large slave plantations in the Mali empire in the 13th-14th centuries and every abuse and cruelty visited on slaves in the antebellum South, including the practice of breeding children for sale like cattle, was practised by the black rulers of those towns which the Afrocentrists now hold up as sanitized examples of high civilization, such as Timbuktu and Songhay.
Robert Hughes (Culture of Complaint: The Fraying of America (American Lectures))
Admittedly, the teaching on proletarian dictatorship had a significant place in classical Marxism, and one which later Social Democratic Marxists, including even Engels in his old age, were inclined to downgrade. But it had not the central place accorded it in Lenin’s Marxism, nor was the proletarian dictatorship conceived by Marx and Engels as a dictatorship of a revolutionary party on behalf of the proletariat. They did not imagine that the working people, once in power, would have need of a party as their “teacher, guide, and leader” in building a new life on socialist lines. The elevation of the doctrine of the proletarian dictatorship into the “essence” of Marxism, as Lenin later called it,[22] and the conception of this dictatorship as a state in which the ruling party would exercise tutelage over the working people, were a sign of his deep debt to the Russian populist revolutionary tradition.
Robert C. Tucker (Stalin as Revolutionary: A Study in History and Personality, 1879-1929)
It has been observed that one common characteristic of “classical populism” in all its forms was the feeling that the “Russian state of bureaucratic absolutism has been the primordial enemy of the popular masses and their intrinsic communal-socialist tendencies.”[
Robert C. Tucker (Stalin as Revolutionary: A Study in History and Personality, 1879-1929)
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
wasn't angry with him at all, really; but I suddenly fancied--that was what did it--that it would be such a fine scene.... And yet, believe me, it was quite natural, for I really shed tears and cried for several days afterwards, and then suddenly, one afternoon, I forgot all about it.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
And, besides, who isn't suffering from aberration nowadays?--you, I, all of us are in a state of aberration, and there are ever so many examples of it: a man sits singing a song, suddenly something annoys him, he takes a pistol and shoots the first person he comes across, and no one blames him for it.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
In order to determine this question, it is above all essential to put one's personality in contradiction to one's reality.' Do you understand that?
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
would give away all this super-stellar life, all the ranks and honors, simply to be transformed into the soul of a merchant's wife weighing eighteen stone and set candles at God's shrine.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
I suffer, but still, I don't live. I am x in an indeterminate equation. I am a sort of phantom in life who has lost all beginning and end, and who has even forgotten his own name.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
From the vehemence with which you deny my existence," laughed the gentleman, "I am convinced that you believe in me.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
He would marry her tomorrow!—marry her tomorrow and murder her in a week!
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
but having a respectful and well-disciplined husband under her thumb at all times, she found it possible, as a rule, to empty any little accumulations of spleen upon his head, and therefore the harmony of the family was kept duly balanced, and things
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
Hippolyte is an extremely clever boy, but so prejudiced. He is really a slave to his opinions.
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
Because some fool, or a rogue pretending to be a fool, strikes a man, that man is to be dishonoured for his whole life, unless he wipes out the disgrace with blood, or makes his assailant beg forgiveness on his knees!
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)
Of course, certain external circumstances are impossible to predict. ... For instance: Will our country last? Its predecessor, with all its might, was more short-lived than your average violin, for which seventy years is nothing, a piffling age: seventy-year-old violins look virtually brand-new; they have no cracks to speak of; sometimes luthiers have to imitate wear and tear. As it currently stands, it doesn't appear that this country, successor to the one in which Leva and Yasha and Katya and Dodik grew up, has a long life in store: it'll fall apart, disintegrate, too many cracks to count. But then again, that may not come to pass. We shouldn't look to contrive an outcome—let that story run its own course. ... However, there is one thing of which we are certain. Bows will still be wound in silver wire or whalebone; ebony frogs will still be inlaid with mother-of-pearl eyes; and childen's violins—one-quarter size, one-eighth size—will still bear delicate trails of salt, the salt of tears from children, who cry as they play, not stopping, not ending their music.
Maxim Osipov (Rock, Paper, Scissors: And Other Stories (New York Review Books Classics))
It is the hallmark of the great revolutions of Western history, starting with the Papal Revolution, that they clothe their vision of the radically new in the garments of a remote past, whether those of ancient legal authorities (as in the case of the Papal Revolution), or of an ancient religious text, the Bible (as in the case of the German Reformation), or of an ancient civilization, classical Greece (as in the the case of the French Revolution), or of a prehistoric classless society (as in the case of the Russian Revolution). In all of these great upheavals the idea of a restoration - a return, and in that sense a revolution, to an earlier starting point- was connected with a dynamic concept of the future.
Harold J. Berman (Law and Revolution: The Formation of the Western Legal Tradition)
What an aspect denotes is a kind of internal line. It is often and truly said that imperfective is like a line, it has duration, continuity, extension so to speak in space, the perfective is like a dot, a moment, as soon as it is begun it is finished. And here it is instructive to note that in Russian a certain form of perfective expresses equally well the beginning and the end of an action, the two terminal points, the two ends [...] Other illustrations point the same way, the imperfective is the open hand, the perfective the clenched fist, the imperfective is a snow-field, the perfective a snow-ball. Always we find the same notion not of time order but internal time, the imperfective has internal time but not of time order, it may be past, present or future; the perfective has no internal time, no duration, and equally its time order past, present or future is indifferent.
Jane Ellen Harrison (Aspects, Aorists and the Classical Tripos)
M. Jacques Rivière appears to know no Russian and says no words of 'aspects', but what he explains as his meaning is simply this, that the Russian novel is written in the imperfective, written from within not without, lived not thought about. This modern Russian method is to M. Rivière the exact opposite of symbolist work, where everything is known beforehand, everything achieved then thought or felt about from outside and above.
Jane Ellen Harrison (Aspects, Aorists and the Classical Tripos)
It is part of the great spiritual riches of the Russian that, because he sees or rather feels things living from the inside (imperfective) he sees or rather feels things whole (asyndeta). It is a corollary from his living into things, for life is durée unanalysed, undistributed. These asyndeta, these bits of life so closely bound together that they refuse conjunctions, are countless in Russian, specially in epic and peasant Russian.
Jane Ellen Harrison (Aspects, Aorists and the Classical Tripos)
This aversion to the abstract and generalized, this love of living into the live individual fact is I think at the bottom of all the well-known, just now too well-known, Russian characteristics. The Russian has a horror of abstractions, while no Teuton, we are told, can resist a generalization. [...] The Slav has little love of the state, i.e. for man's collective order imposed on the individual, hence his incapacity for discipline, efficiency, collective progress. For him the wonder of the world is the individual not the class, the complexity of life not its simplification, least of all its abstraction.
Jane Ellen Harrison (Aspects, Aorists and the Classical Tripos)
Sergei recited a Pushkin poem in Russian while I recited a stanza by Racine from my French classical repertoire. Both of us, romantics at heart, were inebriated by the fresh air, the calm and the greenery surrounding us, and we decided to ride to a village where we could taste the local food and wash it down with beer for Sergei and tea for me.
Liliane Willens (Stateless in Shanghai)
Only those who experienced our war in the East can truly picture its scale and ferocity. There are many of us who were there; I believe that of the 20 million men who served under German arms from 1939 to 1945, 17 million served exclusively on the Russian front. Yet, the survivors are less than that number, and our experience is not readily discussed in public today.
Wolfgang Faust (Tiger Tracks - The Classic Panzer Memoir (Wolfgang Faust's Panzer Books))
Morris Halle was already working on a generative phonology of Russian in the 1950s, and we also worked together on the generative phonology of English, at first jointly with Fred Lukoff.
Noam Chomsky (On Language: Chomsky's Classic Works: Language and Responsibility and Reflections on Language)
In 1925, a master plan was instituted to blend the French neo-classical design with the tropical background. The Art Deco movement, both in Havana and in Miami Beach, took hold during the late 1920’s, and is found primarily in the residential section of Miramar. Miramar is where most of the embassies are located, including the massive Russian embassy. The predominant street is Fifth Avenue known as La Quinta Avenida, along which is found the church of Jesus de Miramar, the Teatro Miramar and the Karl Marx Theater. There is also the Old Miramar Yacht Club and the El Ajibe Restaurant, recently visited and televised by Anthony Bourdain on his show, “No Reservations.” Anthony Bourdain originally on the Travel Channel is now being shown on CNN. The modern five-star Meliá Habana hotel, known for its cigar bar, is located opposite the Miramar Trade Centre. Started in 1772, el Paseo del Prado, also known as el Paseo de Marti, became the picturesque main street of Havana. It was the first street in the city to be paved and runs north and south, dividing Centro Habana from Old Havana. Having been designed by Jean-Claude Nicolas Forestier, a French landscape architect, it connects the Malecón, the city’s coastal esplanade, with a centrally located park, Parque Central. Although the streets on either side are still in disrepair, the grand pedestrian walkway goes for ten nicely maintained blocks. The promenade has a decorated, inlaid, marble terrazzo pavement with a balustrade of small posts. It is shaded by a tree-lined corridor and has white marble benches for the weary tourist. Arguably, the Malecón is the most photographed street in Havana. It lies as a bulwark just across the horizon from the United States, which is only 90, sometimes treacherous miles away. It is approximately 5 miles long, following the northern coast of the city from east to west. This broad boulevard is ideal for the revelers partaking in parades and is the street used for Fiesta Mardi Gras, known in Cuba as Los Carnavales. It has at times also been used for “spontaneous demonstrations” against the United States. It runs from the entrance to Havana harbor, alongside the Centro Habana neighborhood to the Vedado neighborhood, past the United States Embassy on the Calle Calzada.
Hank Bracker
There are some nations, viz., the Persians and Russians, where the women regard blows as a peculiar sign of love and favour.
Richard von Krafft-Ebing (Psychopathia Sexualis: The Classic Study of Deviant Sex)
In just a bony fistful of years, classical Russian food culture vanished, almost without a trace. The country's nationalistic euphoria on entering World War I in 1914 collapsed under nonstop disasters presided over by the 'last of the Romanovs': clueless, autocratic czar Nicholas II and Alexandra, his reactionary, hysterical German-born wife. Imperial Russia went lurching toward breakdown and starvation. Golden pies, suckling pigs? In 1917, the insurgent Bolsheviks' banners demanded simply the most basic of staples - khleb (bread) - along with land (beleaguered peasants were 80 percent of Russia's population) and an end to the ruinous war. On the evening of October 25, hours before the coup by Lenin and his tiny cadre, ministers of Kerensky's foundering provisional government, which replaced the czar after the popular revolution of February 1917, dined finely at the Winter Palace: soup, artichokes, and fish. A doomed meal all around.
Anya von Bremzen (Mastering the Art of Soviet Cooking: A Memoir of Food and Longing)
When sex is the means of exploitation, there are three methods. The first is seduction that leads to the direct theft of secrets. For example, Ian Clement, deputy to the then mayor of London, Boris Johnson, was caught in a honey trap while in Beijing for the 2008 Olympics. He was approached by an attractive woman, agreed to have a couple of drinks, then invited her up to his hotel room.40 There he passed out, apparently drugged, and woke to find his room ransacked for documents and the contents of his BlackBerry downloaded. A top aide to Prime Minister Gordon Brown fell for the same trap in the same year.41 The second method is seduction that leads to blackmail, using compromising photographs. This classic honey trap (meiren ji, literally ‘beautiful person plan’) was perfected by the Russians.42 Though the method is not uncommon, cases rarely come to light.43 In 2017 the former deputy head of MI6, Nigel Inkster, said that China’s agencies were using honey traps more often.44 In 2016 reports suggested that the Dutch ambassador to Beijing had been entrapped.
Clive Hamilton (Hidden Hand: Exposing How the Chinese Communist Party is Reshaping the World)
General Hodge was criticized for this inflexible attitude; the world had not yet learned that it is completely impossible to do business with Russians except from either a position of power or upon Russian terms.
T.R. Fehrenbach (This Kind of War: The Classic Military History of the Korean War)
Se tutti combattessero soltanto in base alle loro convinzioni, la guerra non esisterebbe
Lev Tolstoj (Guerra e pace (Italian Edition))
Russians accuse Mao of seeking “world holocaust.
Edgar Snow (Red Star over China: The Classic Account of the Birth of Chinese Communism)
Nor would Marina, hewing to purely Party principles, let her stepfather find out about the death of his drunkard of a nephew, who looked like a dead man long before his live-in lover, an alcoholic with a face like stomach contents, killed the poor guy with a classic Russian ax. … Nonetheless, she refused to confirm this disgraceful death as a fact. For her anxious mother, who wasn’t allowed to see the real news, either, but who somehow could tell something bad had happened, the crime story became a vodka poisoning—which was also partly the truth since, according to the autopsy report, at the moment her nephew, unsteady on his feet, was leveled by the ax, his organism was as sloshed as soup and he had barely a few weeks to live. Nonetheless, Marina had to take care to maintain this person’s pseudo-life. … She just couldn’t zero him out—and evidently her mother, taking from the mailbox the latest transfer sent by Marina, still asked herself why her now grown-up relative didn’t show his face or come visit even for the holidays that had always been sacred for him, dates for reestablishing his rights and for being with his people. Doubtless, her mother secretly suspected that brusque Marina had insulted her relative—which was also true because the deads’ resentment for the living always seeps through the night and comes out on the wallpaper, and also because Marina had stashed the body.
Olga Slavnikova (The Man Who Couldn't Die: The Tale of an Authentic Human Being (Russian Library))
Oh, we shall persuade them that they will only become free when they renounce their freedom to us and submit to us. And
Fyodor Dostoevsky (Fyodor Dostoyevsky’s Collected Works: Crime and Punishment, Poor Folk, and More! (10 Works): Russian Classic Fiction)