Russian Inspirational Quotes

Margarita was never short of money. She could buy whatever she liked. Her husband had plenty of interesting friends. Margarita never had to cook. Margarita knew nothing of the horrors of living in a shared flat. In short... was she happy? Not for a moment.

Don't you know no one can escape the power of creatures reaching out with breath alone?

All that sadness. All that anger. It is the smoke that gets into your eyes. If you do not blow it away, how can you hope to see?

We all come out from Gogol's 'Overcoat'.

‎I was cursed with the pessimism of both the Russians and the Jews two of the gloomiest tribes in the world. Still if there wasn't greatness in me maybe I had the talent to recognize it in others even in the most irritating others.

I wish I wasn't an imperial highness or an ex-grand duchess. I'm sick of people doing things to me because of what I am. Girl-in-white-dress. Short-one-with-fringe. Daughter-of-the-tsar. Child-of-the-ex-tyrant. I want people to look and see me, Anastasia Nikolaevna Romanova, not the caboose on a train of grand duchesses. Someday, I promise myself, no one will be able to hear my name or look at my picture and suppose they know all about me. Someday I will do something bigger than what I am.

Because everyone is guilty for everyone else. For all the 'wee ones,' because there are little children and big children. All people are 'wee ones.' And I'll go for all of them, because there must be someone who will go for all of them.

That is the way we decided to talk, free and easy, two young men discussing a boxing match. That was the only way to talk. You couldn't let too much truth seep into your conversation, you couldn't admit with your mouth what your eyes had seen. If you opened the door even a centimeter, you would smell the rot outside and hear the screams. You did not open the door. You kept your mind on the tasks of the day, the hunt for food and water and something to burn, and you saved the rest for the end of the war.

There was something else that [Christopher] Reeve told me privately, off camera, and it made me grin. While he was lying in the hospital, just becoming conscious with tubes connected to all parts of his body, a doctor in a white coat came in and with a Russian accent, commanded: "Turn over!" Are you nuts? Reeve thought. I said: 'Turn over!'" the doctor repeated. As Reeve was about to answer "the imbecile", he realized there was something familiar about the man in the white coat. He wasn't a doctor at all. He was Reeve's old buddy from acting school at Julliard, Robin Williams. Reeve waited for a breath, and almost choked with laughter. He realized, he told me, "If I can laugh, I can live.

Here's how I used to think you made a book: a poet comes along, mouth half open, inspired, then suddenly the idiot bursts into song - fancy that!

Just forget for a minute that you have spectacles on your nose and autumn in your heart. Stop being tough at your desk and stammering with timidity in the presence of people. Imagine for one second that you raise hell in public and stammer on paper. You’re a tiger, a lion, a cat. You spend a night with a Russian woman and leave her satisfied. You’re twenty five. If rings had been fastened to the earth and sky, you’d have seized them and pulled the sky down to earth

St. Augustine hated the Stoics, Dostoevsky hated the Russian Liberals. At first sight this seems a quite inexplicable peculiarity. Both were convinced Christians, both spoke so much of love, and suddenly - such hate! And against whom? Against the Stoics, who preached self-abnegation, who esteemed virtue above all things in the world, and against the Liberals who also exalted virtue above all things! But the fact remains: Dostoevsky spoke in rage of Stassyulevitch and Gradovsky; Augustine could not be calm when he spoke the names of those pre-Stoic Stoics, Regulus and Mutius Scaevola, and even Socrates, the idol of the ancient world, appeared to him a bogey. Obviously Augustine and Dostoevsky were terrified and appalled by the mere thought of the possibility of such men as Scaevola and Gradovsky - men capable of loving virtue for its own sake, of seeing virtue as an end in itself. Dostoevsky says openly in the Diary of a Writer that the only idea capable of inspiring a man is that of the immortality of the soul.

Вообще, знаешь, в чем разница между сексом и любовью? Секс - это действие; занятие любовью - состояние.

If the first job one has in a given profession acts as a tuning fork for the career that follows, Frederick Thomas was attuned from the start to a pitch of the highest quality.

A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")

Living according to God's truth means that my ego must die, and I must live entirely for God and for my neighbors. Living according to God's truth means not following the crowd and not being dismayed when even your friends misunderstand you. For the God whom you serve will have the final word. On the day of judgement he will speak the final word over the whole of your life.

In 2014, an American television show interviewed Russians about their country’s oppressive laws against the LGBT community. To explain what had inspired her decision to protest these laws, one woman quoted a line from Angel: “If nothing we do matters, then all that matters is what we do.

To promise to abide by this legislation, so inimical to God, would mean forsaking the gospel and turning away from God's law. This is why Christians have a choice to make, either to trade in their loyalty to God for freedom from persecution, or to remain true to Christ and consequently run the risk of persecution.

Знаешь, в чем разница между способностью и талантом? Талант - это способность плюс склонность к риску.

To understand Putin, you must understand Russian history. To understand Zelensky, you must understand Ukraine history.

To a Familiar Genius Flying By Reveal yourself, anonymous enchanter! What heaven hastens you to me? Why draw me to that promised land again That I gave up so long ago? Was it not you who in my youth Enchanted me with such sweet dreams, Did you not whisper, long ago, Dear hopes of a guests ethereal? Was it not you through whom all lived In golden days, in happy lands Of fragrant meadows, waters bright, Where days were merry ?neath clear skies? Was it not you who breathed into my vernal breast Some melancholy mysteries Tormenting it with keen desire Exciting it to anxious joy? Was it not you who bore my soul aloft Upon the inspiration of your sacred verse, Who flamed before me like a holy vision, Initiating me into life's beauty? In hours lost, hours of secret grief, Did you not always murmur to my heart, With happy comfort soothe it And nurture it with quiet hope? Did not my soul forever heed you In all the purest moments of my life When'ere it glimpsed fate's sacred essence With only God to witness it? What news bring you, O, my enchantress? Or will you once more call in dreams Awaken futile thoughts of old, Whisper of joy and then fall silent? O spirit, bide with me awhile; O, faithful friend, haste not away; Stay, please become my earthly life, O, Guardian angel of my soul.

Vladimir Putin had once been known as Vlad Tepes, or Vlad the Impaler, the inspiration for Dracula. And that he had also, in fact, been Grigori Rasputin before the Russian Revolution of 1917.

His point about the folklore of a country springing up from the deep history of a nation–this is something very important for all of us Americans to think about, especially since so many of our cultural elites seem to be more interested in putting down or even destroying our common culture (such as it is) rather than returning to it as a well of inspiration. Something to think about.

Это безусловное клише, но любой талант требует еще многих сопутствующих качеств, самое главное из которых, как ни парадоксально, это уверенность, что он существует. Только она может провести через соблазны прагматического быта, которые упрашивают, молят не рисковать, не пробовать. Ведь если засомневаешься на минуту, если, как в той сказке, рука дрогнет или глаз моргнет, то затянет тут же талант в предательский водоворот частных устремлений и мелких радостей. И разменяют они его.

I must nevertheless point out that our profession very closely approaches the idea of that which is called art. Into it enter all the elements which go to form art—vocation, inspiration, fantasy, inventiveness, ambition, and a long and arduous apprenticeship to the science.

His deepest fear was that its invention would inspire a deadly nuclear arms race between the West and the Soviet Union. To prevent this, he insisted, it was imperative that the Russians be told about the existence of the bomb project, and be assured that it was no threat to them.

Letters blend to give rise to words  Like colors pave way for the birth of million shades! Evanescence reminisces sepia! Memory takes back to black and white! Music pops hot pink! Dance rocks wine red! Marvelous is miraculous as the indigo! Magnificent is magnanimous like Russian red! Splendid is classy like arctic blue! Resplendent inspires like  strawberry pink! Flamboyance is flowery like fuchsia! Flawless is perfect like flamingo! Extraordinary stands out like lime yellow! Peculiar is unique like cyan! Pleasant pleases like periwinkle! Soothing soothes like lemonade! Opulent glitters gold! Spectacular shimmers silver! Nice is as mild as dulce de leche! Attractive dazzles onyx! Powerful is headstrong like tangerine! Puissance stupefies like scarlet red! Mellifluence is dissolving, like lavender! Sonorous sounds magenta! Lovely cutely blushes! Sweet is peachy! Richness is wealthy like lush green! Poverty is brown as in flower wilt! Candid is frank as candy red! Altruism is selfless like parmesan! But, BEAUTY IS IRIDESCENT! Which

would be easier to satisfy his ambitions in Poland, but the Russian documents show clearly that this was not his main motivation. On the contrary, the emperor believed that so long as Napoleon ruled neither the German settlement nor European peace would be secure. The basic point was that Alexander was convinced that Russian and European security depended on each other. That is still true today. But perhaps there is some inspiration to be drawn from a story in which the Russian army advancing across Europe in 1813–14 was in most places seen as an army of liberation, whose victories meant escape from Napoleon’s exactions, an end to an era of constant war, and the restoration of European trade and prosperity.

There are food stations around the room, each representing one of the main characters. The Black Widow station is all Russian themed, with a carved ice sculpture that delivers vodka into molded ice shot glasses, buckwheat blini with smoked salmon and caviar, borsht bite skewers, minipita sandwiches filled with grilled Russian sausages, onion salad, and a sour cream sauce. The Captain America station is, naturally, all-American, with cheeseburger sliders, miniwaffles topped with a fried chicken tender and drizzled with Tabasco honey butter, paper cones of French fries, mini-Chicago hot dogs, a mac 'n' cheese bar, and pickled watermelon skewers. The Hulk station is all about duality and green. Green and white tortellini, one filled with cheese, the other with spicy sausage, skewered with artichoke hearts with a brilliant green pesto for dipping. Flatbreads cooked with olive oil and herbs and Parmesan, topped with an arugula salad in a lemon vinaigrette. Mini-espresso cups filled with hot sweet pea soup topped with cold sour cream and chervil. And the dessert buffet is inspired by Loki, the villain of the piece, and Norse god of mischief. There are plenty of dessert options, many of the usual suspects, mini-creme brûlée, eight different cookies, small tarts. But here and there are mischievous and whimsical touches. Rice Krispies treats sprinkled with Pop Rocks for a shocking dining experience. One-bite brownies that have a molten chocolate center that explodes in the mouth. Rice pudding "sushi" topped with Swedish Fish.

Do not believe those who try to persuade you that composition is only a cold exercise of the intellect. The only music capable of moving and touching us is that which flows from the depths of a composer’s soul when he is stirred by inspiration. There is no doubt that even the greatest musical geniuses have sometimes worked without inspiration. This guest does not always respond to the first invitation. We must always work, and a self-respecting artist must not fold his hands on the pretext that he is not in the mood. If we wait for the mood, without endeavouring to meet it half-way, we easily become indolent and apathetic. We must be patient, and believe that inspiration will come to those who can master their disinclination. A few days ago I told you I was working every day without any real inspiration. Had I given way to my disinclination, undoubtedly I should have drifted into a long period of idleness. But my patience and faith did not fail me, and to-day I felt that inexplicable glow of inspiration of which I told you; thanks to which I know beforehand that whatever I write to-day will have power to make an impression, and to touch the hearts of those who hear it. I hope you will not think I am indulging in self-laudation, if I tell you that I very seldom suffer from this disinclination to work. I believe the reason for this is that I am naturally patient. I have learnt to master myself, and I am glad I have not followed in the steps of some of my Russian colleagues, who have no self-confidence and are so impatient that at the least difficulty they are ready to throw up the sponge. This is why, in spite of great gifts, they accomplish so little, and that in an amateur way.

When I was seventeen I could still see well enough to read. My reading was a trait my parents admired without sharing it themselves. They described me to their friends as “bookish.” Really, I just appreciated how static and parsable words were on a page, how little they demanded of me visually. I liked books that took a long time to read, which meant that I read a lot of Russian novels, and The Brothers Karamazov was my favorite. I was reading it for the third time at Last Chance, imagining that I was Alyosha, a saint surrounded by sinners. I especially liked the part where the Elder Zosima described his childhood: I was the sickly elder brother who inspired him to become a man of the cloth, or maybe I was Zosima himself, who Alyosha prayed both for and with. The book had as many examples of how to be good as it had examples of how to be bad. It stretched for miles in my head.

...there is something Russian about this particular use of the eye as an aggressive and defensive weapon. In Russian literature there is endless variation in the use of the eye as a soulful receptor, as an avid grasper, and as the very organ for mutual soulful surrender. In regard to the great models of political and literary life, however, the emphasis is on the eye as an incorruptible instrument for the manipulation of the future. Gorky's description of Tolstoy is typical: 'With sharp eyes, from which neither a single pebble nor a single thought could hide itself, he looked, measured, tested, compared.' Or again, his eyes are 'screwed up as though straining to look into the future'. Equally typical is Trotsky's description of Lenin: When Lenin, his left eye narrowed, receives a wireless containing a speech he resembles a devilishly clever peasant who does not let himself be confused by any words, or deluded by any phrases. That is highly intensified peasant shrewdness, lifted to the point of inspiration.

Firstly, the Azerbaijanian struggle for a measure of autonomy and self-government is genuine and is locally inspired. The facts of history and existing conditions show that Azerbaijan has always been struggling to overthrow the feudal conditions imposed upon it (and upon the rest of Iran) by corrupt Iranian Governments. Secondly, the extent of Russian interference appeared to be negligible. In our travels we saw few Russian troops, and in Kurdistan we saw none at all. The leaders of the Azerbaijanian Government are not Russians but Azerbaijanians, and with few exceptions their sole aim seems to be the recovery and improvement and economic reform of Azerbaijan. There may be some Russian influence by indirect means, but I would suggest that it is less than our own influence in Iran which we exercise by direct control of ministers, political parties, state financiers, and by petty bribery. As for Kurdish Independence. The Kurds ask for an independence of their own making, not an independence sponsored by the British Government. Like the Azerbaijanians the Kurds are seeking real autonomy, and more than that, self-determination. Our present scheme to take them over and use them as a balancing factor in the political affairs of the Middle East is a reflection upon the honest of our intentions, and a direct blow at the spirit of all good men.

Early in a career that began in 1912 when he was 19 years old, Romain de Tirtoff, the Russian-born artists who called himself Erté after the french pronunciation of his initials, was regarded as a 'miraculous magician,' whose spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy. When his career ended with his death in 1990, Erté was considered as 'one of the twentieth-century's single most important influences on fashion,' 'a mirror of fashion for 75 years,' and the unchallenged 'prince of the music hall,' who had been accorded the most significant international honors in the field of design and whose work was represented in major museums and private collections throughout the world. It is not surprising that Erté's imaginative designs for fashion, theater, opera, ballet, music hall, film and commerce achieved such renown, for they are as crisp and innovative in their color and design as they are elegant and extravagant in character, and redolent of the romance of the pre- and post-Great War era, the period when Erté's hand became mature, fully developed and representative of its time. Art historians and scholars define Ertés unique style as transitional Art Deco, because it bridges the visual gab between fin-de-siècle schools of Symbolism, with its ethereal quality, Art Nouveau, with its high ornament, and the mid-1920s movement of Art Deco, with its inspirational sources and concise execution.

Within My Power By Forest E. Witcraft (1894 - 1967), a scholar, teacher, and Boy Scout Executive and first published in the October 1950 issue of Scouting magazine. I am not a Very Important Man, as importance is commonly rated. I do not have great wealth, control a big business, or occupy a position of great honor or authority. Yet I may someday mould destiny. For it is within my power to become the most important man in the world in the life of a boy. And every boy is a potential atom bomb in human history. A humble citizen like myself might have been the Scoutmaster of a Troop in which an undersized unhappy Austrian lad by the name of Adolph might have found a joyous boyhood, full of the ideals of brotherhood, goodwill, and kindness. And the world would have been different. A humble citizen like myself might have been the organizer of a Scout Troop in which a Russian boy called Joe might have learned the lessons of democratic cooperation. These men would never have known that they had averted world tragedy, yet actually they would have been among the most important men who ever lived. All about me are boys. They are the makers of history, the builders of tomorrow. If I can have some part in guiding them up the trails of Scouting, on to the high road of noble character and constructive citizenship, I may prove to be the most important man in their lives, the most important man in my community. A hundred years from now it will not matter what my bank account was, the sort of house I lived in, or the kind of car I drove. But the world may be different, because I was important in the life of a boy.

We shall see one another some day, brother. I believe in that as in the multiplication-table. To my soul, all is clear. I see my whole future, and all that I shall accomplish, plainly before me. I am content with my life. I fear only men and tyranny. How easily might I come across a superior officer who did not like me (there are such folk !), who would torment me incessantly and destroy me with the rigours of service—for I am very frail and of course in no state to bear the full burden of a soldier's life. People try to console me: " They're quite simple sort of fellows there." But I dread simple men more than complex ones. For that matter, men everywhere are just— men. Even among the robber-murderers in the prison, I came to know some men in those four years. Believe me, there were among them deep, strong, beautiful natures, and it often gave me great joy to find gold under a rough exterior. And not in a single case, or even two, but in several cases. Some inspired respect; others were downright fine. I taught the Russian language and reading to a young Circassian—he had been transported to Siberia for robbery with murder. How grateful he was to me ! Another convict wept when I said good-bye to him. Certainly I had often given him money, but it was so little, and his gratitude so boundless. My character, though, was deteriorating; in my relations with others I was ill-tempered and impatient. They accounted for it by my mental condition, and bore all without grumbling. Apropos: what a number of national types and characters I became familiar with in the prison ! I lived into their lives, and so I believe I know them really well. Many tramps' and thieves' careers were laid bare to me, and, above all, the whole wretched existence of the common people. Decidedly I have not spent my time there in vain. I have learnt to know the Russian people as only a few know them. I am a little vain of it. I hope that such vanity is pa r donable. Brother

As the years go by and I grow older, I feel compelled to record my experiences in wartime Germany. It is important that my children, grandchildren and future generations know about the difficult times we all endured and of the horrors that existed in Nazi Germany during the Second World War. Due to my advanced age and present condition, I am aware of the urgency to document my memories. If I fail in this, I will fail those who follow me, for they will never know!” Adeline Perry This book had its origin many years ago when Adeline Perry tried to recount her experiences and found that she would become overcome by her emotions every time she tried. The horrors and trials that she had experienced, plus the responsibility of raising her two daughters proved to be overwhelming. It was not until the twilight of her life when her daughters gently persuaded her to try again so that future generations might hear and perhaps learn from her experiences. In fact a good portion of these manuscripts were written while she was in the care of Hospice and only now survive because of immense personal strength and devotion to her family and the desire that what had happened to her would never happen again. Her daughter, and my wife, Ursula can take a great deal of pride in the effort it took to make these manuscripts a reality. After Adeline’s passing I had the privilege to develop the book Suppressed I Rise. Staying true to her story I gave her the authorship of the first edition of this book, which adhered to, and did not exceed what she had left in her original manuscripts. This book which was printed in limited numbers became an instant success and deserved more exposure. Readers also felt that there were questions that went unanswered requiring a follow-up. How did Adeline justify going to Germany prior to World War II? What happened to her marriage to Richard and how did she resume her own life, as a single mother, when she returned to South Africa! With additional reflections by her daughters Brigitte Grigsby and Ursula Bracker, and travel to the areas discussed in Suppressed I Rise, I expanded the book to include the prewar years. I also corrected minor contradictions and factual discrepancies that were inadvertently caused by the passage of time. Talking to people in Germany I confirmed some of what had happened including the hanging of the Russian prisoner of war. The book has now become a powerful example of not only personal courage but also of human tragedy. It is a book that I am proud to have written and share in the concept that it was a story that had to be told.

Лучше не думать, не вспоминать, не представлять, а делать.

I’ve read all my life, and I read everything. I’ve been so influenced by so much that as soon as I mention one name I think, “Oh, but I cant’s say that without saying that.” I think there are certain obvious big guns, but I really hate to say any one, or six, or twenty. But you could very roughly say that the English novelists of the nineteenth century and the Russian novelists of the nineteenth century were formative. That’s where my love and admiration end emulation was when I started. But then I read all that other junk, too. And I did my college work in French and Italian literature. I never much liked the French novelists. I can tell you what I don’t like. I don’t much like “the great tradition,” the James-Conrad thing that I was supposed to like when I was in college. I’ve revolted against that fairly consciously. Flaubert I really consider a very bad model for fiction writer.

Острейшее ощущение жизни всегда охватывало меня там, где кончаются границы известного мне мира.

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

On March 30, 1867, Secretary of State William Seward agreed to buy Alaska from the Russians for $7.2 million.

The inspiration of the flight, its symbolism, were eliminated, for the meaning was straightforward and basic, and related to associations which are perfectly familiar to us. The screen had to show an ordinary, dirty peasant, then his fall, his crash, his death. This is a concrete happening, a human catastrophe, observed by onlookers just as if now, as we watched, someone were to dash out for some reason in front of a car and finish up lying there crushed on the asphalt.

During the Great War, the German army occupied Kristóf’s village and forced the residents to use the German language. Upon liberating Hungary, the Soviets made learning Russian compulsory in school. In this way, Kristóf’s mother tongue was repeatedly stolen from her amid the ravages of war. As a result, she wrote in what she often called “an enemy language,” and when she wrote these three novels, she elevated the tragic loss of her native language into literature.

These are stories from the past, but they are still echoing now, in the present. As I write this, Russian forces are using rape as a weapon of war against Ukrainian women; deported mothers are being separated from their children in the US; border walls are being built and fortified at an unprecedented rate across the globe (there are currently seventy-four in existence). But this much is clear: when walls are built, people will find a way over or under them; when families are separated, they do everything in their power to be reunited; and when women are victims, they find the courage to speak up, to band together, to survive.

Quinten had long ago reached the conclusion that the Russian plan was entirely feasible. He considered there was only way to defeat it, and that was to beat the Russians to the punch, and catch them with their guard down. It was his belief that the 843rd Wing on its own could destroy the Russian capacity to wage a global war.

Jimmy Fratianno did worry and rightly so, for he suffered for Sinatra’s behaviour being hassled by the Vegas cops – until he had a word that someone might get much more than hassled unless the aggravation against him ceased. The Mob thought Sinatra stupid for his behaviour. It was not the place or time. Nevertheless, in those fledging days at the Desert Inn, with seven different law agencies monitoring operations, Sinatra also spent even more time with Johnny Rosselli, who was the perfect mobster for Las Vegas. He could be anything anybody wanted him to be. He was attractive to women (by now lovers included Betty Hutton, Lana Turner and Donna ‘It’s A Wonderful Life’ Reed) and Sinatra found him fun, good company and a generous all-around guy. He was a facilitator. He could arrange the murder of ‘Russian Louis’ Strauss who tried to blackmail his friend Benny Binion the owner of the Horseshoe Casino. He could get a girl a date with Frank Sinatra and vice versa. He met with Howard Hughes, who had a jealousy-inspired (Marilyn Monroe and Ava Gardner) lifetime hatred for Sinatra, and acted as Hughes’s go-between with Meyer Lansky and Moe Dalitz. They said George Raft was a great dancer, yet Johnny Rosselli could expertly waltz to anybody’s tune.

I became a Christian at the age of seventeen. I made a very conscious act of commitment and my only desire was to be kept in purity and holiness throughout the whole time of my earthly pilgrimage. I didn't choose Christ's narrow path for the riches, fame, or comfortable life it would bring, for I had experienced several times in my family before I became a Christian that true discipleship would mean a life of persecution.

I did it because you are a beautiful, desirable woman, and a long time ago, someone made you think you weren’t. I’m not saying a few lessons from me can undo everything, but I want you to see a little bit of what I see when I look at you.

Trust is the source of a soldier’s inspiration. And faith is the mother of friendship and of a soldier’s courage. For the commander, faith and trust are the two keys to a soldier’s heart, to that hidden cache of energy that the soldier himself may not understand he has inside of him.

Confident his counter-measures were as secure as he could make them, he had slowly slipped into a routine existence. The biting winter hadn’t helped – more than a few times, he found himself wondering why he hadn’t fled to the Bahamas or Monte Carlo, like the jewel thieves in Hollywood films. Stockholm was comfortable but conformist, and its long dark nights seemed to drain all meaning from life. He was finally free from the British and the Russians – but for what purpose? In the evenings, he’d wander around the city looking at people, trying to fathom what drove them, inspired them – what they were doing

On September 27, 1919, 128 alienated White socialists, inspired by the recent Russian Revolution, gathered in Chicago to form the Communist Party of the United States of America (CPUSA). “The racial oppression of the Negro is simply the expression of his economic bondage and oppression, each intensifying the other,” the CPUSA’s program declared, sounding eerily like the founding racial program of the Socialist Party of America (SPA) in 1903. Since then, SPA leaders, such as the party’s five-time presidential candidate, Eugene V. Debs, had tended to say that there was “no negro question outside of the labor question.” Like their SPA predecessors, CPUSA officials would also go on to raise capitalist exploitation over racial discrimination, instead of leveling and challenging them both at once. In their incomplete reading of the world’s political economy, racism emerged out of capitalism, and therefore the problem of capitalism came before the problem of racism. The Communists theorized that if they killed capitalism, racism would die, too—not knowing that capitalism and racism had both emerged during the same long fifteenth century, and that since then, they had been mutually fortifying each other while developing separately. The Communist of the CPUSA admonished Blacks (and Whites) during the Red Summer to “realize their misery is not due to race antagonism, but the CLASS ANTAGONISM” between big business and labor.14

Come my friend. Come and walk with me in the path ahead that awaits you with open arms – the path of humanism – the path where every pedestrian is simply a human, not a Christian, Jew, Hindu, Muslim, Atheist, Mexican, American, Canadian, British, Australian, Russian, Asian, African, European or anything else.

Помаленечку докатим

A part war drama, part coming-of-age story, part spiritual pilgrimage, Surviving Hitler, Evading Stalin is the story of a young woman who experienced more hardships before graduating high school than most people do in a lifetime. Yet her heartaches are only half the story; the other half is a story of resilience, of leaving her lifelong home in Germany to find a new home, a new life, and a new love in America. Mildred Schindler Janzen has given us a time capsule of World War II and the years following it, filled with pristinely preserved memories of a bygone era. Ken Gire New York Times bestselling author of All the Gallant Men The memoir of Mildred Schindler Janzen will inform and inspire all who read it. This is a work that pays tribute to the power and resiliency of the human spirit to endure, survive, and overcome in pursuit of the freedom and liberty that all too many take for granted. Kirk Ford, Jr., Professor Emeritus, History Mississippi College Author of OSS and the Yugoslav Resistance, 1943-1945 A compelling first-person account of life in Germany during the rise of Adolph Hitler and the Nazi Party. A well written, true story of a young woman overcoming the odds and rising above the tragedies of loss of family and friends during a savage and brutal war, culminating in her triumph in life through sheer determination and will. A life lesson for us all. Col. Frank Janotta (Retired), Mississippi Army National Guard Mildred Schindler Janzen’s touching memoir is a testimony to God’s power to deliver us from the worst evil that men can devise. The vivid details of Janzen’s amazing life have been lovingly mined and beautifully wrought by Sherye Green into a tender story of love, gratitude, and immeasurable hope. Janzen’s rich, post-war life in Kansas serves as a powerful reminder of the great promise of America. Troy Matthew Carnes, Author of Rasputin’s Legacy and Dudgeons and Daggers World War II was horrific, and we must never forget. Surviving Hitler, Evading Stalin is a must-read that sheds light on the pain the Nazis and then the Russians inflicted on the German Jews and the German people. Mildred Schindler Janzen’s story, of how she and her mother and brother survived the war and of the special document that allowed Mildred to come to America, is compelling. Mildred’s faith sustained her during the war's horrors and being away from her family, as her faith still sustains her today. Surviving Hitler, Evading Stalin is a book worth buying for your library, so we never forget. Cynthia Akagi, Ph.D. Northcentral University I wish all in the world could read Mildred’s story about this loving steel magnolia of a woman who survived life under Hitler’s reign. Mildred never gave up, but with each suffering, grew stronger in God’s strength and eternal hope. Beautifully written, this life story will captivate, encourage, and empower its readers to stretch themselves in life, in love, and with God, regardless of their circumstances. I will certainly recommend this book. Renae Brame, Author of Daily Devotions with Our Beloved, God’s Peaceful Waters Flow, and Snow and the Eternal Hope How utterly inspiring to read the life story of a woman whose every season reflects God’s safe protection and unfailing love. When young Mildred Schindler escaped Nazi Germany, only to have her father taken by Russians and her mother and brother hidden behind Eastern Europe’s Iron Curtain, she courageously found a new life in America. Surviving Hitler, Evading Stalin is her personal witness to God’s guidance and provision at every step of that perilous journey. How refreshing to view a full life from beginning to remarkable end – always validating that nothing is impossible with God. Read this book and you will discover the author’s secret to life: “My story is a declaration that choosing joy and thankfulness over bitterness and anger, even amid difficult circumsta

perhaps for the first time, a clear sign of Shockley’s limitations emerged. Whatever his friend Jim Fisk found easy and natural—relaxing a roomful of scientists with some inspired slapstick, for instance, or giving men freedom to do their work as they chose—Shockley found difficult. He simply could not get the hang of managing people. Some fifty years later, Shockley’s biographer, Joel Shurkin, found among his private papers a sealed envelope from this period containing a note informing his wife that he had just attempted suicide. He had played Russian roulette with a revolver. “There was just one chance in six that the loaded chamber would be under the firing pin,” he wrote, before adding, with characteristic precision, that “there was some chance of a misfire even then.

HISTORY HAS BEEN used and abused more than once in the Ukraine Crisis, informing and inspiring its participants but also justifying violations of international law, human rights, and the right to life itself. The Russo-Ukrainian conflict, while arising unexpectedly and taking many of those involved by surprise, has deep historical roots and is replete with historical references and allusions. Leaving aside the propagandistic use of historical arguments, at least three parallel processes rooted in the past are now going on in Ukraine: Russia’s attempts to reestablish political, economic, and military control in the former imperial space acquired by Moscow since the mid-seventeenth century; the formation of modern national identities, which concerns both Russians and Ukrainians (the latter often divided along regional lines); and the struggle over historical and cultural fault lines that allow the participants in the conflict to imagine it as a contest between East and West, Europe and the Russian World.

Invigorating Cold A cold shower might not sound like self-care at first, but it is! Cold showers awaken all your senses, which benefits your mind and body. The banya, an old Russian tradition, involves alternating between hot steam and ice-cold water. The jolt to your system is said to increase your immune response, reducing sickness in your body. Hop in a cold shower today. While the chilliness is activating your nervous system, tell yourself, I am alive and present and ready to face this day! Follow up with a comforting warm lotion and harness the energy to tackle what lies ahead.

After the first of the familiar verses the prisoner came at last to the words 'as it is in heaven'. That was all that was wanted. 'Stop!' cried the lieutenant, blazing with excitement, turned like a flash, with a gesture of inspiration, to the man with his stick raised, and shouted: 'Give him seventy times seven!

I wonder where all that inspiration of love came from, to a man like Ivan Baranowski?” Annabella asked with curiosity “I don't know, maybe he fell in love with someone and his heart was broken, perhaps unrequited love. What we do know so far, is that no one knows who this man is!” He is Russian with a name like Ivan Baranowski, however, no one knows anything about him except that he has sold one hundred million copies of the book since it was published three years ago.

Above all, there was a belief in the revolution and the future, a feeling of having suddenly emerged into an era of equality and freedom. This is what we’re after. This is worth giving up the rooting-tooting boots for: belief, togetherness, equality. This is why people get obsessed with festivals, or clubs, or drugs, or football, or other temporal approximations of togetherness; these distilled vials of the elixir are craved by our starved souls. I’m as materialistic as the next man, probably more, given that the next man is George Orwell, and I am prepared to relinquish my trinkets for a shot at living in that ramshackle paradise. Human beings were trying to behave as human beings and not as cogs in the capitalist machine. Orwell wrote this in the mid-thirties. Consider how radically capitalism has advanced since then. In his great dystopian fiction 1984, Orwell described a totalitarian regime where humans were constantly observed, scrutinized, and manipulated, where freedom had been entirely eroded, omnipotent institutions dominated, and every home glowed with the mandatory TV screen streaming state-sponsored data. Well, he was spot on, aside from a bit of glitter and the fact that we voluntarily install our own screens. Orwell saw this brief period in Spanish history as a potential template for an alternative future. Ordinary workers took over their businesses and factories and ran them democratically. Naturally, they were brutally massacred by a multitude of enemies—the fascists, communists, and liberal democracies all coiled about them in a terrified asphyxiating clench. I’d never heard of this Revolution. The reason for this is, of course, that it’s so fucking inspiring. The Revolutions that we’re taught about are ones that wind neatly back to repression of one flavor or another and convey the bleak, despairing narrative that makes the forms of impoverishment we live with now, whether financial or spiritual, seem preferable. No one, absolutely no one, will tell you that an alternative is possible, and the ways and means are strewn all about us. A lot of other political struggles and social uprisings labeled “Revolutions” are, in my mind, unworthy of the term, in that they were simply a hegemonic exchange. Whether it’s the Russian Revolution, which led to Stalinism, or the American Revolution, which led to corporate oligarchy. The Revolution we advocate ought to have two irrefutable components: 1) nonviolence, and 2) the radical improvement of the quality of life for ordinary people.

De boeddhisten zeggen dat een les zoiets is als 'een vinger die naar de maan wijst'. De maan (verlichting) is het ding waar het om gaat en de wijzende vinger probeert ons die kant op te krijgen, maar het is zaak niet de vinger met de maan te verwarren. Voor de schrijvers onder ons die ervan dromen ooit net zo'n verhaal te schrijven als de verhalen waarvan we hielden, waardoor we op aangename wijze werden opgeslokt en die eventjes werkelijker leken dan de zogenaamde werkelijkheid, is het doel ('de maan') de geestelijkheid te bereiken die ons in staat stelt zo'n verhaal te schrijven. Alle workshop-praat en verhalentheorie en aforistische, slimme, ambacht bevorderende slogans zijn slechts vingers die wijzen naar die maan en ons proberen te dirigeren naar die geestelijkheid.

There was just one problem for Putin: Russia wasn’t a superpower anymore. Despite having a nuclear arsenal second only to our own, Russia lacked the vast network of alliances and bases that allowed the United States to project its military power across the globe. Russia’s economy remained smaller than those of Italy, Canada, and Brazil, dependent almost entirely on oil, gas, mineral, and arms exports. Moscow’s high-end shopping districts testified to the country’s transformation from a creaky state-run economy to one with a growing number of billionaires, but the pinched lives of ordinary Russians spoke to how little of this new wealth trickled down. According to various international indicators, the levels of Russian corruption and inequality rivaled those in parts of the developing world, and its male life expectancy in 2009 was lower than that of Bangladesh. Few, if any, young Africans, Asians, or Latin Americans looked to Russia for inspiration in the fight to reform their societies, or felt their imaginations stirred by Russian movies or music, or dreamed of studying there, much less immigrating. Shorn of its ideological underpinnings, the once-shiny promise of workers uniting to throw off their chains, Putin’s Russia came off as insular and suspicious of outsiders—to be feared, perhaps, but not emulated.

It goes without saying that genders are language’s gift to poets. Heine’s masculine pine tree longs for the feminine palm; Boris Pasternak’s My Sister Life can work only because “life” is feminine in Russian; English translations of Charles Baudelaire’s “L’homme et la mer,” however inspired, can never hope to capture the tempestuous relationship of attraction and antagonism that he evokes between “him” (the man) and “her” (the sea); nor can English do justice to Pablo Neruda’s “Ode to the Sea,” in which the (masculine) el mar strikes a stone (una piedra) and then “he caresses her, kisses her, drenches her, pounds his chest, repeating his own name”—the English “it caresses it, kisses it, drenches it, pounds its chest” is not quite the same.

For all his saintly qualities, however, Kropotkin by no means offered blanket opposition to the use of violence. He upheld the assassination of tyrants if the perpetrators were impelled by noble motives, though his acceptance of bloodshed in such instances was inspired by compassion for the oppressed rather than by any personal hatred of the ruling despots. Kropotkin believed that acts of terror were among the very few means of resistance available to the enchained masses; they were useful as "propaganda by the deed," calculated to supplement oral and written propaganda in awakening the rebellious instincts of the people. Nor did Kropotkin shrink from revolution itself, for he hardly expected the propertied classes to give up their privileges and possessions without a fight. Like Bakunin, he anticipated an upheaval that would demolish capitalism and the state for all time. Nevertheless, he earnestly hoped that the rebellion would be a tame one, with "the smallest number of victims, and a minimum of embitterment." Kropotkin's revolution was to be speedy and humane—quite unlike Bakunin's demonic visions of fire and brimstone.

The only free cheese is in the mousetrap

Questions and topics for discussion 1) What do you think it means to be a Bossypants? Do you know anyone personally that you would describe as a Bossypants and did the society you live in ever try to drown her? 2) The lessons Tina has learned from her work as a writer, a boss, a performer, and a producer are lessons that can be carried across a wide array of disciplines. (For instance, from her instructions about improv: Always speak in statements.) Which moments resonated the most for you? 3) In Chapter 4, Tina realizes that she has been guilty of holding her gay friends to a double standard—enjoying their company but still expecting them to stay in a “half-closet.” Have you ever had a moment like this? In a related question, do you think young pop stars today experience too much pressure to pretend to be a lesbian with Madonna? 4) While working at the YMCA in Chicago, Tina experienced some personal low points. But it also propelled her into pursuing her improv career. Have you ever experienced a similarly transformative period? During your transformation, did you ever spin around and pretend to be Wonder Woman? 5) What are some of your favorite SNL sketches or 30 Rock episodes? Should we just act them out? 6) Which other celebrities, besides Kim Kardashian, do you think may have been engineered by Russian scientists to sabotage our athletes? 7) Are there more specifics you would add to “The Mother’s Prayer for Its Daughter”? 8) Tina writes a love letter to Amy Poehler. Do you have friends who inspire you in the same way that Amy inspires Tina? ACTIVITY: Write a love letter to Amy Poehler and mail it to her home address (p. 291).

And as to her face, could it inspire nothing but passion? Could her face inspire passion at all now? Oh, it inspired suffering, grief, overwhelming grief of the soul!

Johnson’s team identified similar control parameters for the virtual terror cells on the Russian website. The number of clusters was like the density of trees. The rate at which one follower linking into a node inspires another follower to link into a node—the “infectability” of the cause—was the equivalent of the rate at which fire hops from tree to tree, the “virality.

Перестаньте винить судьбу. Перестаньте обвинять других. Перестаньте сваливать все на внешние обстоятельства Вы получаете ту жизнь, с которой готовы мириться.

In early Leninist terminology, the geographical opposition of "city" (proletariat) versus "countryside" (peasant) was often expressed in terms of "consciousness" versus "spontaneity." Consciousness in this Marxist sense meant not individual creativity, inspiration, or (as it often did for Dostoevsky) the freedom of personal will and the responsibility of choice, but was applied more narrowly, to mean an awareness of the dialectical shape of history and the inevitable victory of the proletariat. Opposed to this party-minded awareness was "spontaneity": people reacting anarchically, instinctively, out of their immediate anger or blind need, peasants burning manor houses ... Many believed that a symbiotic relation between these two forces was possible, at the level of the individual body as well as the body politic.

CRITICAL OVERVIEW POLITICAL MEANING The political message of Animal Farm is inspired by the events of the Russian (Bolshevik) Revolution (1917–21), when Russian peasants overthrew the monarchy in favor of socialism, a political system in which land, business, property, and capital are owned by the community as a whole. In Animal Farm, Orwell (a Socialist) shows the animals’ efforts to overthrow human dictatorship and to establish a socialist community in which everyone contributes to the common gain. During the course of the novel, Napoleon takes control, moves socialism in the direction of communism (Stalinism), a political system in which all economic and social activity is controlled by a “totalitarian” state (dictatorship) dominated by a single political group or party that keeps itself in power. Orwell’s intent in writing this fable was to destroy the Soviet (communist) myth of the perfect society and to restore genuine socialist principles. He wanted to show how the original intentions of revolution have all too often been corrupted and perverted by one person or group who, for selfish reasons, seizes power, exploits people, and eliminates all opposition.

English readers will learn more about the Russians by reading War and Peace than they will by reading perhaps any other book. But they will also find in it the inspiration to make them think about the world and their own place in it. For War and Peace is a universal work and, like all the great artistic prose works of the Russian tradition, it functions as a huge poetic structure for the contemplation of the fundamental questions of our existence.

For all Franklin Roosevelt’s inspired leadership, in his last enfeebled months he never quite grasped that his decisions about grand strategy made in 1944–1945 (drawing down US troops in China, not occupying Prague, not entering accessible German territory, inviting the Russians into the war against the Japanese, little worry about a future Russian presence in Korea) would soon have not only postwar implications but consequences that were antithetical to Roosevelt’s own often idealistic views of a postwar permanent peaceful order.

if the Americans, instead of counter-punching after a Russian attack, launched their own attack first, the Russian guard would be down.

At the time Quinten launched the 843rd against its targets, the Russians were only a matter of weeks from having the required total of I.C.B.M.’s operational and aimed. The American inter-continental missile, though coming along fast, was not yet operational.

In 1885, Carl Boberg, a twenty-six-year-old preacher, wrote a poem titled in Swedish, “O Store Gud.” Translated into English, it’s “O Great God.” Boberg had no thought of his poem’s becoming a hymn, so a few years later he was surprised to hear his poem sung to the tune of an old Swedish melody. A generation later, in the early 1920s, English missionaries Stuart Hine and his wife were ministering in Poland, where they learned the Russian version of Boberg’s poem sung to the Swedish melody. Later, Hine created English words for it and arranged the Swedish melody to fit. This is the hymn we now know as “How Great Thou Art.

Behind them, filling the roads that converged on Liège came the infantry of Emmich’s assault force, rank after rank. Only the red regimental number painted on helmet fronts broke the monotony of field-gray Horse-drawn field artillery followed. The new leather of boots and harness creaked. Companies of cyclists sped ahead to seize road crossings and farmhouses and lay telephone wires. Automobiles honked their way through, carrying monocled Staff officers with orderlies holding drawn pistols sitting up front and trunks strapped on behind. Every regiment had its field kitchens on wheels, said to be inspired by one the Kaiser had seen at Russian maneuvers, with fires kindled and cooks standing up stirring the stew as the wagons moved. Such was the perfection of the equipment and the precision of the marching that the invaders appeared to be on parade.

Churchill’s views on Zionism were well known. A year later, in an article in the Illustrated Sunday Herald, denouncing those Russian Jews who had taken a leading part in the imposition of Communist rule on Russia, he had called Zionism an ‘inspiring movement’, telling his readers, ‘If, as may well happen there should be created in our own lifetime, by the banks of the Jordan, a Jewish State under the protection of the British Crown, which might comprise three or four millions of Jews, an event will have occurred in the history of the world which would from every point of view be beneficial; and would be especially in harmony with the truest interests of the British Empire.

This novel furnished inspiration for several generations of Russian radicals. That it furnished inspiration also for Vladimir Ulyanov is well attested to by, among other things, the fact that he entitled his own revolutionary treatise of 1902—the most important of all his works in historical influence—What Is to Be Done?

He had given Bolshevism strong personal leadership without being a dictator who ruled by arbitrary command. The movement had arisen as his political following in Russian Marxism and developed for twenty years under his guidance and inspiration. Although not institutionalized in an office, his role of supreme leader had entered into the unwritten constitution of Bolshevism, its habitual modus operandi. Lenin had been the movement’s organizer, its chief strategist and tactician, the author of its distinctive version of Marxist ideology, and the authoritative interpreter of party doctrine. He had been the commander-in-chief of the party in the political struggles that led up to the revolutionary conquest of power, and in those that ensued after power was won. He had been the dominant policy-making personality of the ruling party and of the new Third International that came into being under its auspices. His unique authority enabled him to unify an extremely disputatious ruling group whose inner conflicts continually threatened to tear it apart into warring factions. As head of the Soviet government, moreover, Lenin was Bolshevism’s chief executive and director of its foreign relations.

One needed, she saw now, only a few belongings, just as one needed only a few close friends, and a single passion - it need not be a person, neccissarily.

Nesting like Russian dolls. Each larger creation becomes more than the sum of its parts yet remains entirely dependent on them.

A famous Russian proverb: Don't blame the mirror if your face is awry. (smile)

Trump himself contributes new elements to this old story. To the millenarianism of the far right and the revolutionary nihilism of the far left he adds the deep cynicism of someone who has spent years running unsavory business schemes around the world. Trump has no knowledge of the American story and so cannot have any faith in it. He has no understanding of or sympathy for the language of the founders, so he cannot be inspired by it. Since he doesn’t believe American democracy is good, he has no interest in an America that aspires to be a model among nations. In a 2017 interview with Bill O’Reilly of Fox News, he expressed his admiration for Vladimir Putin, the Russian dictator, using a classic form of “whataboutism.” “But he’s a killer,” said O’Reilly. “There are a lot of killers. You think our country’s so innocent?” Trump replied. Two years earlier, he expressed a similar thought in another television interview, this time with Joe Scarborough. “He’s running his country and at least he’s a leader,” he said of Putin, “unlike what we have in this country….I think our country does plenty of killing also, Joe, so you know.” This way of speaking—“Putin is a killer, but so are we all”—mirrors Putin’s own propaganda, which often states, in so many words, “Okay, Russia is corrupt, but so is everyone else.” It is an argument for moral equivalence, an argument that undermines faith, hope, and the belief that we can live up to the language of our Constitution. It is also