Seventeen Iconic Quotes

All depression has its roots in self-pity, and all self-pity is rooted in people taking themselves too seriously.” At the time Switters had disputed her assertion. Even at seventeen, he was aware that depression could have chemical causes. “The key word here is roots,” Maestra had countered. “The roots of depression. For most people, self-awareness and self-pity blossom simultaneously in early adolescence. It's about that time that we start viewing the world as something other than a whoop-de-doo playground, we start to experience personally how threatening it can be, how cruel and unjust. At the very moment when we become, for the first time, both introspective and socially conscientious, we receive the bad news that the world, by and large, doesn't give a rat's ass. Even an old tomato like me can recall how painful, scary, and disillusioning that realization was. So, there's a tendency, then, to slip into rage and self-pity, which if indulged, can fester into bouts of depression.” “Yeah but Maestra—” “Don't interrupt. Now, unless someone stronger and wiser—a friend, a parent, a novelist, filmmaker, teacher, or musician—can josh us out of it, can elevate us and show us how petty and pompous and monumentally useless it is to take ourselves so seriously, then depression can become a habit, which, in tern, can produce a neurological imprint. Are you with me? Gradually, our brain chemistry becomes conditioned to react to negative stimuli in a particular, predictable way. One thing'll go wrong and it'll automatically switch on its blender and mix us that black cocktail, the ol’ doomsday daiquiri, and before we know it, we’re soused to the gills from the inside out. Once depression has become electrochemically integrated, it can be extremely difficult to philosophically or psychologically override it; by then it's playing by physical rules, a whole different ball game. That's why, Switters my dearest, every time you've shown signs of feeling sorry for yourself, I've played my blues records really loud or read to you from The Horse’s Mouth. And that’s why when you’ve exhibited the slightest tendency toward self-importance, I’ve reminded you that you and me— you and I: excuse me—may be every bit as important as the President or the pope or the biggest prime-time icon in Hollywood, but none of us is much more than a pimple on the ass-end of creation, so let’s not get carried away with ourselves. Preventive medicine, boy. It’s preventive medicine.” “But what about self-esteem?” “Heh! Self-esteem is for sissies. Accept that you’re a pimple and try to keep a lively sense of humor about it. That way lies grace—and maybe even glory.

I had come to New York when I was seventeen because—and maybe I was not fully conscious of this then—the city had seemed like a great place to discover who you are. It just seemed that there was a lot to experience here, as if all you had to do was show up and the city would take care of the rest, making sure you got the education, the maturing, the wising-up you needed. Its crowds, the noise, the endlessness of it all, the perpetual motion, felt exciting then—revealing—just the deep end I needed to jump into. There is something unique about New York, some quality, some matchless, pertinent combination of promise and despair, wizardry and counterfeit, abundance and depletion, that stimulates and allows for a reckoning to occur—maybe even forces it. The city pulls back the curtain on who you are; it tests you and shows you what you are made of in a way that has become iconic in our popular culture, and with good reason. In thirteen years, the city has kicked my ass and made me strong and served me well.

When I met Tupac, he was only seventeen years old. To me, he was just another friend in our social circle...In that moment, I would never have guessed I'd just been introduced to someone who would go on to be a cultural icon, a global superstar. Or, that he'd become the legend that he'd become, except of course for when he told us.

sobered, nodded awkwardly, and acted like he wanted to speak, but didn’t. He turned to a laptop, gave it a command. The screens on the wall displayed what looked at first glance like a collage of images. At center was a photograph Acadia had recently taken of Alex Cross’s house from across Fifth Street. Dotted lines traveled from various windows in the house out to pictures of Dr. Alex, his wife, his grandmother, his daughter, and his younger son. Set off to one side was a framed picture of Damon, Alex Cross’s older son, seventeen and a student at a prep school in western Massachusetts. Digital lines went out from each portrait, linked to images of schools, police stations, churches, grocery stores, and various friends. There were also lines connecting each member of Cross’s family to calendar and clock icons. “He uses mind-mapping software and an Xbox 360 with Kinect to make it work,” Acadia explained. “It’s interactive, Marcus. Just stand in front of the camera and point to what you want.” Intrigued now, Sunday stepped in front of the screens and the Kinect camera. He pointed at the photograph of Cross. The screen instantly jumped to a virtual diary of the detective’s recent life, everything from photographs of Bree Stone, to his kids, to his white Chevy sedan and his best friend, John Sampson, and Sampson’s wife, Billie. Sunday pointed at the calendar, and the screens showed a chronological account of everything he had seen Cross do in the prior month.

Tim Graham Tim Graham has specialized in photographing the Royal Family for more than thirty years and is foremost in his chosen field. Recognition of his work over the years has led to invitations for private sessions with almost all the members of the British Royal Family, including, of course, Diana, Princess of Wales, and her children. Her “magic” was a combination of style and compassion. She instinctively knew what was right for every occasion. One of my favorite photographs is a shot I took in Angola in 1997 that shows her with a young land-mine victim who had lost a leg. This image of the Princess was chosen by the Red Cross to appear on a poster to publicize the tragic reality of land mines. It’s an important part of her legacy. It is difficult to capture such a remarkable person in just one photo, but I like this one a lot because it sums up her warmth and concern. Diana had one of those faces that would be very hard to photograph badly. Over the years, there were times when she was fed up or sad, and those emotions I captured, too. They were relevant at the time. I felt horrified by the news of her death and that she could die in such a terrible, simply tragic way. I couldn’t conceive of how her sons would be able to cope with such a loss. I was asked just before the funeral to photograph Prince Charles taking William and Harry out in public for the first time so they could meet the crowds gathered at Kensington Palace and see the floral tributes. It was the saddest of occasions. I had by then received an invitation to the funeral and was touched to have been the only press photographer asked. After much deliberation, I decided to turn down the chance to be a guest in Westminster Abbey. Having photographed Diana for seventeen years, from the day she appeared as Prince Charles’s intended, right through her public and, on occasion by invitation, her private life, I felt that I had to take the final picture. It was the end of an era. From my press position at the door of the abbey, I watched everyone arrive for the service, including my wife, who had also been invited. During my career, I have witnessed so many historic events from the other side of a camera that I felt compelled to take that last photograph of the Princess’s story. Life has moved on, and the public have found other subjects to fascinate them--not least the now grownup sons of this international icon--but everyone knows Diana was unique.

Mother’s yellow station wagon slid like a Monopoly icon along the gray road that cut between fields of Iowa corn, which was chlorophyll green and punctuated in the distance by gargantuan silver silos and gleaming, unrusted tractors glazed cinnamon red. Mother told me how the wealth of these farmers differed from the plight of the West Texas dirt farmers of her Dust Bowl youth, who doled out mortgaged seed from croker sacks. But because I was seventeen and had bitten my cuticles raw facing the prospect of fitting in at the private college we’d reach that night—which had accepted me through some mixture of pity and oversight—and because I was split-headed with the hangover Mother and I had incurred the night before, sucking down screwdrivers in the unaptly named Holiday Inn in Kansas City, I told Mother something like, Enough already about your shitty youth. You’ve told me about eight million times since we pulled out of the garage.

. You start school as a baby aged five and leave aged seventeen going on sixty. Then you start again in the wide, wide world as a green and innocent beginner, behaving like a child, with new boyfriends and hair in bunches and immature thoughts about how the world should be run (‘Let’s share everything! Let’s stay up all night and not pay taxes! Let’s go round the world like gypsies and never settle down in boring jobs!’) and slowly the world turns and suddenly you are struggling with forms to fill in and bills to pay. Your own children grow, and eat like wolves; and life seems like hard work with none of the rewards you thought would come your way simply by being a grown-up. Then comes the time to retire, and back you go again, holding hands on the beach and laughing as you eat apples with your dentures firmly attached by glue to your gums; sometimes television shows geared for the very young are more appealing than the alien humour and scary news programmes that make up the menu in the listings. Then, as Shakespeare noted, we are back to being big babies again, balding and in need of care and changing and feeding, and one day, so soon that you may be able to see the beginning of your life at the same time, the end comes, and That’s All There Was. There has to be a way of looking at it to make a story, to make sense of it. How we longed to be like the film stars of those days! We dipped our nylon petticoats in sugar-water and dried them on radiators to make them stiff so our skirts would stick out like Brigitte Bardot’s pink gingham dress. Bardot! But her baby-ish pout and bed-time hair said Young Creature, not svelte siren of forty. Even then, women were beginning to try to look young, rather than mature. True, Sophie Loren looked utterly femme fatale but she was not our icon, nor was Marilyn Monroe with her curves and thick lipstick. It was Bardot then and still is now, fifty years later. And just as my school days were drawing to a close, the Beatles arrived with Love Me Do (Oh! How thrilling! I do love you, mop-top charmers from Liverpool even though I have never really been anywhere in Britain except school and the south. I love you, and I love the thought of London, waiting huge and wicked like a distant stalker with sweets). The pantheon of Buddy Holly and the Everly Brothers, Little Richard, Cliff and even Elvis had to be reshuffled so that the new world order of pop music could accommodate the

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