Seventeen Famous Quotes

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To find his successor, Yeltsin’s entourage organized a public opinion poll about favorite heroes in popular entertainment. The winner was Max Stierlitz, the hero of a series of Soviet novels that were adapted into a number of films, most famously the television serial Seventeen Moments of Spring in 1973.
Timothy Snyder (The Road to Unfreedom: Russia, Europe, America)
For the benefit of your research people, I would like to mention (so as to avoid any duplication of labor): that the planet is very like Mars; that at least seventeen states have Pinedales; that the end of the top paragraph Galley 3 is an allusion to the famous "canals" (or, more correctly, "channels") of Schiaparelli (and Percival Lowell); that I have thoroughly studied the habits of chinchillas; that Charrete is old French and should have one "t"; that Boke's source on Galley 9 is accurate; that "Lancelotik" is not a Celtic diminutive but a Slavic one; that "Betelgeuze" is correctly spelled with a "z", not an "s" as some dictionaries have it; that the "Indigo" Knight is the result of some of my own research; that Sir Grummore, mentioned both in Le Morte Darthur ad in Amadis de Gaul, was a Scotsman; that L'Eau Grise is a scholarly pun; and that neither bludgeons nor blandishments will make me give up the word "hobnailnobbing".
Vladimir Nabokov
The media might pretend that every life was of equal importance, but they selected people, graded them, decided whether their lives were -- as Ayako put it -- "heavy" or "lightweight," then imposed that set of values on society. The death of a famous person. And the death of someone who wasn't. A tragic death. And one that wasn't.
Hideo Yokoyama (Seventeen)
Earlier that morning, Escoffier ad brought up a large bucket of white rose petals, white violets and vanilla orchids that he'd been thinking of creating a dish with. The pâtissier had crystalized some of the flowers, and left him a plate of meringue shells, a handful of vanilla beans and fresh cream. He wanted to create a new dish for Sarah, a sweet, something surprising, something to engage her. She'd been playing Joan of Arc, the virgin saint, a seventeen-year-old girl. It was a role she made famous, difficult at any age, but for a woman in her mid-forties, it was nearly impossible. Escoffier tossed a handful of white rose petals into Rosa's bathwater. The white skin. The white roses. 'The essence of Saint Joan is in shades of white, like shades of innocence.' 'Spun sugar,' he thought. 'Vanilla cream, of course.
N.M. Kelby (White Truffles in Winter)
Even after the funeral, the trips to Kensington Palace, and the consolation of friends, I still couldn’t accept Diana’s death. Then, Mr. Jeffrey Ling, the British consul general in New York, invited me to speak at the memorial service for Diana in Central Park the weekend after the funeral. I was grateful for the chance to speak about Diana in my own words and at my own pace. Pat and I rewrote my three-minute speech over and over. I practiced it several times the night before. On Sunday afternoon I visited backstage with Mr. Ling and Mayor Giuliani before the service began. The mayor was engaging and down to earth. Mr. Ling was gracious and reassuring, a true gentleman. We watched the North Meadow fill up with more than ten thousand people and were grateful to see such a big turnout on a hot, sunny day. As I sat on the stage, I grew more nervous by the minute. I delivered my heartfelt speech, trembling with emotion as I spoke about “the Diana we knew.” As I looked out at the crowded meadow, I pondered the incredible path I’d traveled, all because I’d needed a part-time nanny in London seventeen years ago. I’d enjoyed a remarkable friendship, attended the most famous ceremonies of my lifetime, dined and danced in palaces, visited with royalty--extraordinary experiences for me and my family. Now, tragically, it was all ending here, as I spoke from my heart in memory and praise of my friend Diana.
Mary Robertson (The Diana I Knew: Loving Memories of the Friendship Between an American Mother and Her Son's Nanny Who Became the Princess of Wales)
It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.
Alyson Noel (Fated (Soul Seekers, #1))
In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.
David Stuart Davies (The Phantom of the Opera)
I knew you forever and you were always old, soft white lady of my heart. Surely you would scold me for sitting up late, reading your letters, as if these foreign postmarks were meant for me. You posted them first in London, wearing furs and a new dress in the winter of eighteen-ninety. I read how London is dull on Lord Mayor's Day, where you guided past groups of robbers, the sad holes of Whitechapel, clutching your pocketbook, on the way to Jack the Ripper dissecting his famous bones. This Wednesday in Berlin, you say, you will go to a bazaar at Bismarck's house. And I see you as a young girl in a good world still, writing three generations before mine. I try to reach into your page and breathe it back… but life is a trick, life is a kitten in a sack. This is the sack of time your death vacates. How distant your are on your nickel-plated skates in the skating park in Berlin, gliding past me with your Count, while a military band plays a Strauss waltz. I loved you last, a pleated old lady with a crooked hand. Once you read Lohengrin and every goose hung high while you practiced castle life in Hanover. Tonight your letters reduce history to a guess. The count had a wife. You were the old maid aunt who lived with us. Tonight I read how the winter howled around the towers of Schloss Schwobber, how the tedious language grew in your jaw, how you loved the sound of the music of the rats tapping on the stone floors. When you were mine you wore an earphone. This is Wednesday, May 9th, near Lucerne, Switzerland, sixty-nine years ago. I learn your first climb up Mount San Salvatore; this is the rocky path, the hole in your shoes, the yankee girl, the iron interior of her sweet body. You let the Count choose your next climb. You went together, armed with alpine stocks, with ham sandwiches and seltzer wasser. You were not alarmed by the thick woods of briars and bushes, nor the rugged cliff, nor the first vertigo up over Lake Lucerne. The Count sweated with his coat off as you waded through top snow. He held your hand and kissed you. You rattled down on the train to catch a steam boat for home; or other postmarks: Paris, verona, Rome. This is Italy. You learn its mother tongue. I read how you walked on the Palatine among the ruins of the palace of the Caesars; alone in the Roman autumn, alone since July. When you were mine they wrapped you out of here with your best hat over your face. I cried because I was seventeen. I am older now. I read how your student ticket admitted you into the private chapel of the Vatican and how you cheered with the others, as we used to do on the fourth of July. One Wednesday in November you watched a balloon, painted like a silver abll, float up over the Forum, up over the lost emperors, to shiver its little modern cage in an occasional breeze. You worked your New England conscience out beside artisans, chestnut vendors and the devout. Tonight I will learn to love you twice; learn your first days, your mid-Victorian face. Tonight I will speak up and interrupt your letters, warning you that wars are coming, that the Count will die, that you will accept your America back to live like a prim thing on the farm in Maine. I tell you, you will come here, to the suburbs of Boston, to see the blue-nose world go drunk each night, to see the handsome children jitterbug, to feel your left ear close one Friday at Symphony. And I tell you, you will tip your boot feet out of that hall, rocking from its sour sound, out onto the crowded street, letting your spectacles fall and your hair net tangle as you stop passers-by to mumble your guilty love while your ears die.
Anne Sexton
At sixteen Helen was already famous, and at seventeen already forgotten, and very much alone.
Cordwainer Smith (The Best of Cordwainer Smith)
Initially working out of our home in Northern California, with a garage-based lab, I wrote a one page letter introducing myself and what we had and posted it to the CEOs of twenty-two Fortune 500 companies. Within a couple of weeks, we had received seventeen responses, with invitations to meetings and referrals to heads of engineering departments. I met with those CEOs or their deputies and received an enthusiastic response from almost every individual. There was also strong interest from engineers given the task of interfacing with us. However, support from their senior engineering and product development managers was less forthcoming. We learned that many of the big companies we had approached were no longer manufacturers themselves but assemblers of components or were value-added reseller companies, who put their famous names on systems that other original equipment manufacturers (OEMs) had built. That didn't daunt us, though when helpful VPs of engineering at top-of-the-food-chain companies referred us to their suppliers, we found that many had little or no R & D capacity, were unwilling to take a risk on outside ideas, or had no room in their already stripped-down budgets for innovation. Our designs found nowhere to land. It became clear that we needed to build actual products and create an apples-to-apples comparison before we could interest potential manufacturing customers. Where to start? We created a matrix of the product areas that we believed PAX could impact and identified more than five hundred distinct market sectors-with potentially hundreds of thousands of products that we could improve. We had to focus. After analysis that included the size of the addressable market, ease of access, the cost and time it would take to develop working prototypes, the certifications and metrics of the various industries, the need for energy efficiency in the sector, and so on, we prioritized the list to fans, mixers, pumps, and propellers. We began hand-making prototypes as comparisons to existing, leading products. By this time, we were raising working capital from angel investors. It's important to note that this was during the first half of the last decade. The tragedy of September 11, 2001, and ensuing military actions had the world's attention. Clean tech and green tech were just emerging as terms, and energy efficiency was still more of a slogan than a driver for industry. The dot-com boom had busted. We'd researched venture capital firms in the late 1990s and found only seven in the United States investing in mechanical engineering inventions. These tended to be expansion-stage investors that didn't match our phase of development. Still, we were close to the famous Silicon Valley and had a few comical conversations with venture capitalists who said they'd be interested in investing-if we could turn our technology into a website. Instead, every six months or so, we drew up a budget for the following six months. Via a growing network of forward-thinking private investors who could see the looming need for dramatic changes in energy efficiency and the performance results of our prototypes compared to currently marketed products, we funded the next phase of research and business development.
Jay Harman (The Shark's Paintbrush: Biomimicry and How Nature is Inspiring Innovation)
His achievements were not come by easily. It was costly in life and in loss of personal freedoms. It was achieved with the full enforcement of the now famous "Dale laws." He moved quickly to punish deserters and law breakers. George Percy related the results in graphic terms. Some "in a moste severe manner [he] cawsed to be executed. Some he appointed to be hanged, some burned, some to be broken upon wheles, others to be staked and some to be shott to deathe; all theis extreme and crewell tortures he used and inflicted upon them to terrefy the reste for attemptinge the like...." These were stern measures that produced results and few of his contemporary associates took issue including John Rolfe, Ralph Hamor, Reverend Alexander Whitaker and even Sir Edwin Sandys. To them, motivated by the spirit of the time, hard conditions required stern handling.
Charles E. Hatch (The First Seventeen Years: Virginia, 1607-1624)
Ruin and desolation were everywhere. Gates, with his Council, on July 7, 1610, wrote that Jamestown seemed "raither as the ruins of some auntient [for]tification, then that any people living might now inhabit it...." Gates promptly distributed provisions, such as he had, and introduced a code of martial law, the code that was strengthened later by De La Warr and made famous by its strict enforcement during the governorship of Sir Thomas Dale.
Charles E. Hatch (The First Seventeen Years: Virginia, 1607-1624)
I purse my lips in aggravation. Of all the places to spend the summer, my parents have chosen here. My mother, the socialite, has chosen to spend her summer a million miles away from the designer boutiques on Oxford Street she covets. My father, the estate agent to the rich and famous, has chosen to spend his summer in a place where the houses barely hit the hundred thousand pound mark. Me? I’ve chosen to spend my summer at home. But at seventeen, I’m a minor. So my choices don’t count. I
Emma Hart (Never Forget (Memories, #1))
There is something seriously wrong with the world when a seventeen-year-old girl has to accept that her stolen nudes are just out there.
Via Bleidner (If You Lived Here You'd Be Famous by Now: True Stories from Calabasas)
The estate Marjorie envisioned was to be erected in the middle of the seventeen-acre lot, which, when cleared of jungle growth, would be surrounded by great stretches of rolling lawn with views of Lake Worth and the Atlantic.
Nancy Rubin Stuart (American Empress: The Life and Times of Marjorie Merriweather Post)
The reporter is doing a profile on me for the magazine. The famous child prodigy. Ugh. That’s the last thing a seventeen-year-old girl wants to be called—a child.
Skye Warren (Overture (North Security, #1))
The dead bring us to life, vivify us, give us scale. We are the unjoined part of them and at their graves we stand at our own. In Ruby Park Cemetery, in the once-famous silver lands of Colorado, the graves are unmarked. There is a single column of marble above a miner's daughter who died at the age of seventeen. The town of Irwin drew thousands of people in the 1870s, some from as far away as England and Scotland. The cemetery is abandoned. The mines have vanished. All but the silent warning, 'My good people as you pass by, As you are now so once was I As I am now you soon must be Prepare yourselves to follow me.' The dust of the pathway whitens our shoes.
James Salter (There and Then: The Travel Writing of James Salter)