Stories Behind Famous Quotes

For anyone to understand a regime like the GDR, the stories of ordinary people must be told. Not just the activists or the famous writers. You have to look at how normal people manage with such things in their pasts.

Who hasn't thought about killing themselves, as a kid? How can you grow up in this world and not think about it? It's an option taken by a lot of successful people: Ernest Hemingway, Socrates, Jesus. Even before high school, I thought that it would be a cool thing to do if I ever got really famous. If I kept making my maps, for instance, and some art collector came across them and decided to make them worth hundreds of thousands of dollars, if I killed myself at the height of that, they'd be worth millions of dollars, and I wouldn't be responsible for them anymore. I'd have left behind something that spoke for itself.

As a matter of fact, that's the reason why I've learned to speak this language, and to write it too: so I can speak in the place of a dead man, so I can finish his sentences for him. The murderer got famous, and his story's too well written for me to get any ideas about imitating him. He wrote in his own language. Therefore I'm going to do what was done in this country after Independence: I'm going to take the stones from the old houses the colonists left behind, remove them one by one, and build my own house, my own language. The murderer's words and expressions are my unclaimed goods. Besides, the country's littered with words that don't belong to anyone anymore.

When Kate was younger, stories were her friends when she found people challenging. She searched them out, hiding among them in the library and tucking herself into their pages. She folded herself into the shape of Hermione Granger or George from The Famous Five or Catherine Moreland from Northanger Abbey and tried to be them for a day. When she started secondary school her friends were the characters she met in the pages of her books. They sat with her in the library as she snuck mouthfuls of sandwich behind books so the librarian wouldn't see. (The librarian always saw, but pretended not to.)

I was thrilled. I had never met a famous writer before. I examined him closely as he sat in my office. What astonished me was that he looked so ordinary. There was nothing in the least unusual about him. His face, his conversation, his eyes behind the spectacles, even his clothes were all exceedingly normal. And yet here was a writer of stories who was famous the world over. His books had been read by millions of people. I expected sparks to be shooting out of his head, or at the very least, he should have been wearing a long green cloak and a floppy hat with a wide brim. But no.

The Post is famous for its investigative journalism. It pours energy and investment and sweat and dollars into uncovering important stories. And then a bunch of websites summarize that [work] in about four minutes and readers can access that news for free. One question is, how do you make a living in that kind of environment? If you can't, it's difficult to put the right resources behind it. ... Even behind a paywall, websites can summarize your work and make it available for free. From a reader point of view, the reader has to ask, 'Why should I pay you for all that journalistic effort when I can get it for free from another site?'

It was getting harder, however. American magazines still looked shiny and lively, but by the early 1960s, writers like Flora were sensing trouble. With television's exploding popularity, more and more people were staring at screens instead of turning pages. Big corporations like car manufacturers were pulling their advertising dollars out of print and spending them on the airwaves. Magazines were bleeding ad pages and readers, and editors scrambled to balance budgets by retooling audiences.

This pandemic has inherited an habit in us of leaving behind a digital dust of who were are; what we are; how we are...to get snooped, pried and loathed upon. Just locking up phones for privacy and opening up feeling and emotions is like watching a pole dance in public - Oren Tamira

As most young candidates for the pains and penalties of whaling stop at this same New Bedford, thence to embark on their voyage, it may as well be related that I, for one, had no idea of so doing. For my mind was made up to sail in no other than a Nantucket craft, because there was a fine, boisterous something about everything connected with that famous old island, which amazingly pleased me. Besides though New Bedford has of late been gradually monopolizing the business of whaling, and though in this matter poor old Nantucket is now much behind her, yet Nantucket was her great original— the Tyre of this Carthage;—the place where the first dead American whale was stranded. Where else but from Nantucket did those aboriginal whalemen, the Red-Men, first sally out in canoes to give chase to the Leviathan? And where but from Nantucket, too, did that first adventurous little sloop put forth, partly laden with imported cobblestones—so goes the story— to throw at the whales, in order to discover when they were nigh enough to risk a harpoon from the bowsprit?

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him

Marilyn Monroe was so much more than just a famous movie star. She was a vulnerable soul, a generous spirit, and a brave soldier in a devastating battle with her own mind. Attempting to explain her difficult journey is the challenge I set for myself with this book. At the heart of the story, I discovered a very different kind of Marilyn, a woman far more complex and serious—and maybe even tragic—than the one I thought I knew.

I was thrilled. I had never met a famous writer before. I examined him closely as he sat in my office. What astonished me was that he looked so ordinary. There was nothing in the least unusual about him. His face, his conversation, his eyes behind the spectacles, even his clothes were all exceedingly normal. And yet here was a writer of stories who was famous the world over. His books had been read by millions of people. I expected sparks to be shooting out of his head, or at the very least, he should have been wearing a long green cloak and a floppy hat with a wide brim.

She thought constantly about Paris and avidly read all the society pages in the papers. Their accounts of receptions, celebrations, the clothes worn, and all the accompanying delights enjoyed, whetted her appetite still further. Above all, however, she was fascinated by what these reports merely hinted at. The cleverly phrased allusions half-lifted a veil beyond which could be glimpsed devastatingly attractive horizons promising a whole new world of wicked pleasure. From where she lived, she looked on Paris as representing the height of all magnificent luxury as well as licentiousness...she conjured up the images of all the famous men who made the headlines and shone like brilliant comets in the darkness of her sombre sky. She pictured the madly exciting lives they must lead, moving from one den of vice to the next, indulging in never-ending and extraordinarily voluptuous orgies, and practising such complex and sophisticated sex as to defy the imagination. It seemed to her that hidden behind the façades of the houses lining the canyon-like boulevards of the city, some amazing erotic secret must lie. "The uneventful life she lived had preserved her like a winter apple in an attic. Yet she was consumed from within by unspoken and obsessive desires. She wondered if she would die without ever having tasted the wicked delights which life had to offer, without ever, not even once, having plunged into the ocean of voluptuous pleasure which, to her, was Paris.

One of the most asked questions about the stories told in my family is “How much of that is true?” Of course, the answer depends on who is telling the story. There is no doubt that Uncle Si is the most entertaining storyteller among the Robertson clan. One of his most famous stories is about the time his secondhand smoke made a deer cough. The story came about after many members of my family jokingly refused to let Si hunt our deer stands because of the odor he left behind. Deer hunters know the best survival defense for a deer is his sense of smell. Si seems to think that is just a superstition and has a coughing deer story to prove it. Even though Si has quit smoking, we encourage him to hunt his own stand with the wind blowing in his face for best results. What makes Si’s stories so funny is his passion and mannerisms in telling them.

When this story goes out into the world, I may become the most famous hermaphrodite in history. There have been others before me. Alexina Barbin attended a girls’ boarding school in France before becoming Abel. She left behind an autobiography, which Michel Foucault discovered in the archives of the French Department of Public Hygiene. (Her memoirs, which end shortly before her suicide, make unsatisfactory reading, and it was after finishing them years ago that I first got the idea to write my own.) Gottlieb Göttlich, born in 1798, lived as Marie Rosine until the age of thirty-three. One day abdominal pains sent Marie to the doctor. The physician checked for a hernia and found undescended testicles instead. From then on, Marie donned men’s clothes, took the name of Gottlieb, and made a fortune traveling around Europe, exhibiting himself to medical men.

I HAVE ALWAYS BEEN most interested in the question of what makes a house a home. What are the elements that move a house beyond its physical structure and provide the warmth that we all crave? In my fifteen years as a designer, I’ve come to understand that the answer is simple: It is about surrounding ourselves with things we love. (...) And in this case, the beauty comes from the owners’ love of books. Books are beautiful objects in their own right—their bindings and covers—and the space they fill on shelves or stacked on coffee tables in colorful piles add balance and texture to any room. And just like any other part of a home, books require maintenance: They need to be dusted, categorized, rearranged, and maintained. Our relationship with them is dynamic and ever changing. But our connection to them goes beyond the material. In each house we visited, the libraries were the heart of the home, meaningful to the collectors’ lives. In this book, we tried to capture what they brought to the home—the life and spirit books added. Some subjects have working libraries they constantly reference; others fill their shelves with the potential pleasures of the unread. When we visited the homes, many people could find favorite books almost by osmosis, using systems known only to themselves. (...) As we found repeatedly, surrounding yourself with books you love tells the story of your life, your interests, your passions, your values. Your past and your future. Books allow us to escape, and our personal libraries allow us to invent the story of ourselves—and the legacy that we will leave behind. There’s a famous quote attributed to Cicero: “A room without books is like a body without a soul.” If I suspected this before, I know it now. I hope you’ll find as much pleasure in discovering these worlds as we did.

H-22: Father Corby Monument 39º48.205’N, 77º14.063’W This monument honors the hundreds of chaplains present on the field in 1863. As chaplain of the Eighty-eighth New York Infantry of the famed Irish Brigade, Father William Corby, twenty-nine years old, has become as famous as many of those who actually bore arms those three fateful days. As the Irish Brigade formed up to enter the fight, Father Corby stepped onto a boulder—some historians believe the very boulder on which the monument stands—and raised his hand. Three hundred soldiers drew silent, many of them dropping to their knees, as the battle raged around them. The priest blessed them, prayed for their safety, and granted a general absolution, after which the troops marched into the fight. Corby’s admonition that the church would refuse a Christian burial for any man who failed to do his duty that day rang in their ears as they headed off. Following the war, Father Corby became president of the University of Notre Dame. A replica of this monument stands on the university’s campus, marking his grave. Years after the war, veterans of the Irish Brigade petitioned to have the Medal of Honor awarded to Corby, a request that was ultimately denied.

I write because of the fragility of our existence. I write because it's my answer to impermanence. I write because it helps me stay connected to my heart. I write because we’re all different, and so much the same. I write because the world needs more tenderness. I write because I'm tired of secrets. I write because it’s my path to redemption. I write because I've forsaken those that I love. I write because I want to know myself. I write because I want to know you. I write because I'm drawn towards things I shouldn't do. I write because every flower is meant to bloom. I write because life is full of paradoxes. I write because I’ve had to leave friends behind. I write because it's my form of prayer. I write because, when I write, I lose track of time. I write because I've walked dark streets looking for love. I write because of the way the sublime slips away from words. I write because of the twice shy part of once burned. I write because it helps me learn. I write because there are plenty of people who have written, famous well-published people, literary figures, literary giants, and I didn't like what they wrote. I write because I'm always telling myself stories anyhow. I write because I don't know all of the reasons I write. I write for you. I write. I write. I write.

It is almost necessary to say nowadays that a saint means a very good man. The notion of an eminence merely moral, consistent with complete stupidity or unsuccess, is a revolutionary image grown unfamiliar by its very familiarity, and needing, as do so many things of this older society, some almost preposterous modern parallel to give its original freshness and point. If we entered a foreign town and found a pillar like the Nelson Column, we should be surprised to learn that the hero on the top of it had been famous for his politeness and hilarity during a chronic toothache. If a procession came down the street with a brass band and a hero on a white horse, we should think it odd to be told that he had been very patient with a half-witted maiden aunt. Yet some such pantomime impossibility is the only measure of the innovation of the Christian idea of a popular and recognized saint. It must especially be realized that while this kind of glory was the highest, it was also in a sense the lowest. The materials of it were almost the same as those of labour and domesticity: it did not need the sword or sceptre, but rather the staff or spade. It was the ambition of poverty. All this must be approximately visualized before we catch a glimpse of the great effects of the story which lay behind the Canterbury Pilgrimage.

The Sublician is the oldest of our bridges, although it has been destroyed and rebuilt several times. The very name refers to the heavy timbers of which it was once built, but the present bridge is of stone. For many generations it was the only bridge over the Tiber at Rome, because the Etruscans lived on the other bank, and Rome was strong enough to defend only one bridge at a time. The most famous story concerning the bridge is the one about Horatius Cocles, who is said to have held off the army of Lars Porsena single-handed while the Romans dismantled the bridge behind him. There are several versions of this celebrated tale. In one of them, Horatius is simply the point man of a wedge of Romans. In another, he held the bridge with two companions, who fell at his side before the bridge was destroyed. In a third, Horatius held the bridge alone right from the first. Personally, I think only the first version has any truth to it. I have been in many battles and skirmishes and played a heroic part in none of them. But I have seen last-ditch stands and delaying actions in plenty, and I have never seen a place, however narrow, that could be defended against an army by a single man for more than a minute or so. No matter how strong and skillful you are, while one man engages you, somebody else can always thrust a spear over the rim of your shield. And then there are the arrows and sling-stones that always fly about in such profusion when men thirst for one another’s blood. Supposedly, when the bridge was destroyed, Horatius somehow found leisure to address a prayer to Tiberinus, god of the river, and leaped in fully armed and swam across to great applause, to be rewarded richly by the citizenry. Another version has him drowning, which is what usually happens when a man in armor finds himself in deep water.

Take the famous slogan on the atheist bus in London … “There’s probably no God. Now stop worrying and enjoy your life.” … The word that offends against realism here is “enjoy.” I’m sorry—enjoy your life? Enjoy your life? I’m not making some kind of neo-puritan objection to enjoyment. Enjoyment is lovely. Enjoyment is great. The more enjoyment the better. But enjoyment is one emotion … Only sometimes, when you’re being lucky, will you stand in a relationship to what’s happening to you where you’ll gaze at it with warm, approving satisfaction. The rest of the time, you’ll be busy feeling hope, boredom, curiosity, anxiety, irritation, fear, joy, bewilderment, hate, tenderness, despair, relief, exhaustion … This really is a bizarre category error. But not necessarily an innocent one … The implication of the bus slogan is that enjoyment would be your natural state if you weren’t being “worried” by us believer … Take away the malignant threat of God-talk, and you would revert to continuous pleasure, under cloudless skies. What’s so wrong with this, apart from it being total bollocks? … Suppose, as the atheist bus goes by, that you are the fifty-something woman with the Tesco bags, trudging home to find out whether your dementing lover has smeared the walls of the flat with her own shit again. Yesterday when she did it, you hit her, and she mewled till her face was a mess of tears and mucus which you also had to clean up. The only thing that would ease the weight on your heart would be to tell the funniest, sharpest-tongued person you know about it: but that person no longer inhabits the creature who will meet you when you unlock the door. Respite care would help, but nothing will restore your sweetheart, your true love, your darling, your joy. Or suppose you’re that boy in the wheelchair, the one with the spasming corkscrew limbs and the funny-looking head. You’ve never been able to talk, but one of your hands has been enough under your control to tap out messages. Now the electrical storm in your nervous system is spreading there too, and your fingers tap more errors than readable words. Soon your narrow channel to the world will close altogether, and you’ll be left all alone in the hulk of your body. Research into the genetics of your disease may abolish it altogether in later generations, but it won’t rescue you. Or suppose you’re that skanky-looking woman in the doorway, the one with the rat’s nest of dreadlocks. Two days ago you skedaddled from rehab. The first couple of hits were great: your tolerance had gone right down, over two weeks of abstinence and square meals, and the rush of bliss was the way it used to be when you began. But now you’re back in the grind, and the news is trickling through you that you’ve fucked up big time. Always before you’ve had this story you tell yourself about getting clean, but now you see it isn’t true, now you know you haven’t the strength. Social services will be keeping your little boy. And in about half an hour you’ll be giving someone a blowjob for a fiver behind the bus station. Better drugs policy might help, but it won’t ease the need, and the shame over the need, and the need to wipe away the shame. So when the atheist bus comes by, and tells you that there’s probably no God so you should stop worrying and enjoy your life, the slogan is not just bitterly inappropriate in mood. What it means, if it’s true, is that anyone who isn’t enjoying themselves is entirely on their own. The three of you are, for instance; you’re all three locked in your unshareable situations, banged up for good in cells no other human being can enter. What the atheist bus says is: there’s no help coming … But let’s be clear about the emotional logic of the bus’s message. It amounts to a denial of hope or consolation, on any but the most chirpy, squeaky, bubble-gummy reading of the human situation. St Augustine called this kind of thing “cruel optimism” fifteen hundred years ago, and it’s still cruel.

The story of Cassius Clay’s lost bicycle would later be told as an indication of the boxer’s determination and the wonders of accidental encounters, but it carries broader meaning, too. If Cassius Clay had been a white boy, the theft of his bicycle and an introduction to Joe Martin might have led as easily to an interest in a career in law enforcement as boxing. But Cassius, who had already developed a keen understanding of America’s racial striation, knew that law enforcement wasn’t a promising option. This subject—what white America allowed and expected of black people—would intrigue him all his life. “At twelve years old I wanted to be a big celebrity,” he said years later. “I wanted to be world famous.” The interviewer pushed him: Why did he want to be famous? Upon reflection he answered from a more adult perspective: “So that I could rebel and be different from all the rest of them and show everyone behind me that you don’t have to Uncle Tom, you don’t have to kiss you-know-what to make it . . . I wanted to be free. I wanted to say what I wanna say . . . Go where I wanna go. Do what I wanna do.” For young Cassius, what mattered was that boxing was permitted, even encouraged, and that it gave him more or less equal status to the white boys who trained with him. Every day, on his way to the gym, Cassius passed a Cadillac dealership. Boxing wasn’t the only way for him to acquire one of those big, beautiful cars in the showroom window, but it might have seemed that way at the time. Boxing suggested a path to prosperity that did not require reading and writing. It came with the authorization of a white man in Joe Martin. It offered respect, visibility, power, and money. Boxing transcended race in ways that were highly unusual in the 1950s, when black Americans had limited control of their economic and political lives. Boxing more than most other sports allowed black athletes to compete on level ground with white athletes, to openly display their strength and even superiority, and to earn money on a relatively equal scale. As James Baldwin wrote in The Fire Next Time, many black people of Clay’s generation believed that getting an education and saving money would never be enough to earn respect. “One needed a handle, a lever, a means of inspiring fear,” Baldwin wrote. “It was absolutely clear the police would whip you and take you in as long as they could get away with it, and that everyone else—housewives, taxi

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him such a fire as burns only once in a lifetime, without heat, flickering a red gold flame infinitely ethereal and insubstantial over Miss Pole; Antony and Cleopatra; and the Waterloo Road. He thought her beautiful, believed her impeccably wise; dreamed of her, wrote poems to her, which, ignoring the subject, she corrected in red ink; he saw her, one summer evening, walking in a green dress in a square. “It has flowered,” the gardener might have said, had he opened the door; had he come in, that is to say, any night about this time, and found him writing; found him tearing up his writing; found him finishing a masterpiece at three o’clock in the morning and running out to pace the streets, and visiting churches, and fasting one day, drinking another, devouring Shakespeare, Darwin, The History of Civilisation, and Bernard Shaw.

Listen,” I said. “There was once this legendary French acrobat named Charles Blondin, okay? He was famous in the nineteenth century for doing these impossible daredevil tightrope-walking stunts. He strung a rope across Niagara Falls, a thousand feet long. And this crowd gathered and he walked on the tightrope over the falls, hundreds of feet above the gorge, and the crowd went crazy when he got to the other side, clapping and cheering.” Gabe gave me a skeptical glance. “Yeah?” “And then he said to the crowd, ‘Do you believe I can do it again?’ and the crowd cheered, ‘Yes!’ And he did it. And the crowd cheered even louder, and he said, ‘Do you believe I can do it wearing a blindfold?’ And some people in the crowd got scared and shouted, ‘No, don’t do it,’ and others said, ‘Yes! You can do it!’” “And he fell,” Gabe said. I shook my head. “He did it, and the crowd cheered even louder, and he said, ‘Do you believe I can do it on stilts this time?’ And the crowd shouted out, “Yes! You can do it!’ And he did it, and the crowd roared and got even wilder. So then he said, ‘Do you believe I can do it pushing a wheelbarrow along the rope?’ And the crowd roared and cheered and said, ‘Yes!’ And Blondin said, ‘You really think I can? You believe it?’ And they shouted, ‘Yes! Yes, you can!’ ” Despite himself, despite his teenage cynicism, he was actually listening. For a moment he almost seemed to be a child again, listening to a bedtime story. “Is this true?” “Yes.” “He actually did it?” “Yep. He did it. He walked across the tightrope hundreds of feet above the gorge pushing a wheelbarrow, and when he made it to the other side the audience had grown huge and frenzied and totally worked up and they cheered. Really went crazy. So Blondin said, ‘Do you believe I can do it again but this time pushing a man in this wheelbarrow?’ And the crowd roared and said, ‘Yes!’ He said, ‘You really believe I can do it?’ And they all went, ‘Yes, definitely! You can do it! We believe in you! Yes! Absolutely!’ By that time the crowd was completely behind him. They thought he could do anything. So Blondin said, ‘Then who will volunteer to sit in the wheelbarrow?’ And the crowd suddenly went quiet. Totally silent. And he said, ‘What’s the matter? You don’t believe in me anymore?’ And they were silent for a long time before someone from the crowd finally said, ‘Yes, we believe in you. But not that much.’ ” “Huh. Did anyone ever volunteer to get in the wheelbarrow?” I shrugged. “How’d the guy die?” “In bed. Forty years later. From diabetes.

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.

His book For Whom the Bell Tolls was an instant success in the summer of 1940, and afforded him the means to live in style at his villa outside of Havana with his new wife Mary Welsh, whom he married in 1946. It was during this period that he started getting headaches and gaining weight, frequently becoming depressed. Being able to shake off his problems, he wrote a series of books on the Land, Air and Sea, and later wrote The Old Man and the Sea for which he won the Pulitzer Prize in May 1954. Hemingway on a trip to Africa where he barely survived two successive airplane crashes. Returning to Cuba, Ernest worked reshaping the recovered work and wrote his memoir, A Moveable Feast. He also finished True at First Light and The Garden of Eden. Being security conscious, he stored his works in a safe deposit box at a bank in Havana. His home Finca Vigía had become a hub for friends and even visiting tourists. It was reliably disclosed to me that he frequently enjoyed swinger’s parties and orgies at his Cuban home. In Spain after divorcing Frank Sinatra Hemingway introduced Ava Gardner to many of the bullfighters he knew and in a free for all, she seduced many of hotter ones. After Ava Gardner’s affair with the famous Spanish bullfighter Luis Miguel Dominguín crashed, she came to Cuba and stayed at Finca Vigía, where she had what was termed to be a poignant relationship with Ernest. Ava Gardner swam nude in the pool, located down the slope from the Hemingway house, after which he told his staff that the water was not to be emptied. An intimate friendship grew between Hemingway’s forth and second wife, Mary and Pauline. Pauline often came to Finca Vigia, in the early 1950s, and likewise Mary made the crossing of the Florida Straits, back to Key West several times. The ex-wife and the current wife enjoyed gossiping about their prior husbands and lovers and had choice words regarding Ernest. In 1959, Hemingway was in Cuba during the revolution, and was delighted that Batista, who owned the nearby property, that later became the location of the dismal Pan Americana Housing Development, was overthrown. He shared the love of fishing with Fidel Castro and remained on good terms with him. Reading the tea leaves, he decided to leave Cuba after hearing that Fidel wanted to nationalize the properties owned by Americans and other foreign nationals. In the summer of 1960, while working on a manuscript for Life magazine, Hemingway developed dementia becoming disorganized and confused. His eyesight had been failing and he became despondent and depressed. On July 25, 1960, he and his wife Mary left Cuba for the last time. He never retrieved his books or the manuscripts that he left in the bank vault. Following the Bay of Pigs Invasion, the Cuban government took ownership of his home and the works he left behind, including an estimated 5,000 books from his personal library. After years of neglect, his home, which was designed by the Spanish architect Miguel Pascual y Baguer in 1886, has now been largely restored as the Hemingway Museum. The museum, overlooking San Francisco de Paula, as well as the Straits of Florida in the distance, houses much of his work as well as his boat housed near his pool.

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.

Switzerland is the closest to what Aristotle, Plato and Socrates had in mind when democracy was conceived. Americans proudly recite Lincoln’s famous democratic battle cry: ‘Government for the people, by the people and of the people, - but in fact this is a better description of the Swiss model.

often finds a more interesting story behind the conventional one. Martin Luther's supposedly revolutionary resistance to indulgences took place in a German state where they were sold. Even more intriguing, they weren't sold because the ruling authorities there get a brisk business in holy relics – which Luther left alone.

Ain’t no haints in Detroit,” was more famous within the family than the story behind it. It first gained a place in the Turner lexicon as a way to refute a claim, especially one that very well might be true—a

Looks like we found it." John said. "Where are we?" As far as Link could tell, there was nothing to find. John pointed up at the white signs at the intersection that read 61 and 49, and Liv checked her selonometer as if they weren't standing in the middle of nowhere. "Are those numbers supposed to mean something to us?" Floyd asked. "We're at the intersection of Highways 61 and 49 in Clarksdale, Mississippi," John said. Sampson shook his head. " I feel like an idiot. Any guitar player worth his strings knows about this place. It's where Robert Johnson made a deal with the Devil." Floyd's eyes widened. "Seriously? We're at the crossroads?" John nodded. "The one and only." Liv glanced at John. "I'm assuming this is an American thing?" He put his arm around her. "Yeah, sorry. It's an old rock and roll myth- at least as far as mortals are concerned. In the 1930s, a blues musician named Robert Johnson disappeared for a couple of weeks. According to the story, he brought his guitar right here to this crossroads-" Link jumped in. "Then he traded his soul to become the most famous blues guitarist in history." Sampson tugged on his leather pants, which weren't the best choice in the Mississippi heat. "Totally a fair trade, as far as I'm concerned." "Thought the same thing myself," a man's voice called out from behind them. Link wheeled around. A young man wearing a wrinkled white shirt, a black jacket, and a Panama hat stood on the side of the road with a three-legged black Labrador. There was a weariness in the man's eyes of someone much older. A battered guitar hung from a strap slung around his back.

What I know now: the body is a strange vessel we leave behind.

My banner was behind me and that banner would attract ambitious men. They wanted my skull as a drinking cup, my name as a trophy. They watched me as I watched them and they saw a man covered in mud, but a warlord with a wolf-crested helmet and arm rings of gold and with close-linked mail and a cloak of darkest blue hemmed with golden threads and a sword that was famous throughout Britain. Serpent-Breath was famous, but I sheathed her anyway, because a long blade is no help in the shield wall’s embrace, and instead I drew Wasp-Sting, short and lethal. I kissed her blade then bellowed my challenge at the winter wind. “Come and kill me! Come and kill me!” And they came.

It’s The Raft of the Medusa by Géricault. There’s a whole story behind that painting. It’s based on a true story about a shipwreck and it made Géricault famous. See the thing about artists is that they tell stories. I mean, some paintings are like novels.

The Foundling Hospital was established in 1741 by a businessman and philanthropist named Thomas Coram as a children’s home for the “education and maintenance of exposed and deserted young children.” He was moved to establish it by the sight of abandoned babies and young children starving and dying on the streets of London. Today, part of the site the Foundling Hospital stood on is a children’s playground near the world-famous Great Ormond Street Hospital for Children. The Foundling Hospital itself has gone, but the charitable organization behind it still exists, now known as the Thomas Coram Foundation for Children, or simply Coram.

If you can dream it, you can do it.

It actually amazes me that there are people like that, who talk and talk and talk but have never been punched in the face; who just yell at each other and pray that a bouncer comes. I find that legitimately fascinating.

Berry and three other old Etonians, James Bolton, Alex Lyle and Christian De Lotbiniere, were the brains behind “Ski Bob” travel. This was a company, named after their Eton housemaster Bob Baird, which had been formed when they discovered that they were too young legally to book holidays themselves. So these young entrepreneurs started their own company and within the twenty-strong group, which mainly compromised old Etonians, the greatest accolade was to be called “Bob.” Diana was soon Bob, Bob, Bobbing along. “You’re skating on thin ice,” she yelled in her Miss Piggy voice as she skied dangerously close behind members of the group. She joined in the pillow fights, charades, and satirical singsongs. Diana was teased mercilessly about a framed photograph of Prince Charles, taken at his Investiture in 1969, which hung in her school dormitory. Not guilty, she said. It was a gift to the school. When she stayed in the Berry chalet she slept on the living-room sofa. Not that she got much sleep. Medical student, James Colthurst, liked to regale the slumbering throng with unwelcome early morning renditions of Martin Luther King’s famous “I had a dream” speech or his equally unamusing Mussolini impersonation.

suddenly these doors burst open and the two boys came out and they were so excited. They were hopping up and down waiting for their mum and dad to come, and Diana whisked past the hand-shaking people and her whole face lit up, and she took her hat off and she scuttled down the whole length of the yacht as fast as she could and was hugging them and kissing them. Fincher’s photograph is one of the most famous ever taken of Diana, her arms outstretched, William launching himself into her embrace. She asked Fincher for a copy which she displayed in her dressing room at Kensington Palace. But it wasn’t the only picture on that roll of film. And then a few seconds behind her Prince Charles did the same thing. He came down, he was hugging and kissing the boys too. But the sad thing was that all the pictures that were used were her with her arms out, and nobody ever used a picture of him. I think he got a bad press with the children at that time. Everybody kept saying, ‘Oh, this awful father’ and everything, which wasn’t true. He’s always been a lovely father. But I think he wasn’t seen with the children and she was – and in a lot of high-profile places like Thorpe Park. And so people tended to see that and think, Where’s he? all the time.

Senna once said in an now famous interview, "Being a racing driver means you are racing with other peeople and if you no longer go for a [pass] that exists, you are no longer a racing driver because we are competing - - competing to win and the  main motivation for all of us is to compete for victory, not to come finish 3rd, 4th, 5th or 6th.

Hey, I’m Alex and you won’t believe what happened today when I was coming home from school. As I was walking through the park, I saw a creepy man on a bench. He was watching the sky for something. I don’t know why  (maybe because he was watching me when he wasn't watching the sky) but I decided to take a shortcut through this alley behind an apartment building (in hindsight, I would not have gone through that alley) anyways I was walking pretty fast because I was kinda creeped out plus it was pretty cold for August. I had to look at the ground because of all the broken glass so I didn’t see the carrier pigeon until it was like a centimeter away from my nose.

There is usually some truth behind a myth and legends.

Me Time Zone It’s okay to be a “me-time mom.” ~Author Unknown The day has ended yet only just begun for I have two lives — one that hides behind the sun You may not see my secret life — the one lurking in the dark, the one that eagerly awaits its time to spark Daytime me puts the other me aside Daytime me doesn’t get to hide Daytime me washes all the clothes Daytime me kisses the injured toes I am a teacher, a maid and a cook I hand out the cuddles and the disconcerting looks I referee the arguments, the teasing and the fights I fasten the helmets to go ride the bikes Nighttime me relaxes in the chair Nighttime me reads books without a care Nighttime me watches comedy shows Nighttime me eats the treats that I chose I sometimes wonder whether I used to be bored when I had just one life and hardly any chores I want to do all the things that I did before but how do I fit them in now there’s so much more? I read books, played piano and swam I cycled and socialised and ran I wrote poetry, played video games and went to bars I knew popular culture and all the famous stars Now my me time has become so small sometimes I feel it’s hardly there at all When the children will not settle but the sun has gone away I throw my arms in the air, for daytime me has to stay. I count to ten and breathe in deep Why oh why won’t they go to sleep? Me time is a ship that has sailed past How could I be so foolish to think that it would last I tuck their hair behind their ears and then I begin to feel the tears Am I crying for my me time? That seems a little mad Surely it’s something else that’s making me sad Crying for my me time does seem a little daft As I leave the children’s room I begin to laugh. I’m trying to put me time into a time slot I precariously balance it on the top. But I realise my me time comes in different forms to be enjoyed even while daytime storms I read a book whilst I make the tea I play ukulele whilst the children dance with me I swim in the sea with the children under my wings I run around the park between pushing them on swings And there are famous stars that I know, even if they come from the children’s favourite show Yes the ultimate me time is when I’m on my own but me time can also be enjoyed when you’re not alone My me time is a state of mind When I’m in the me time zone who knows what I’ll find? — Anneliese Rose Beeson —

Pomeroy presented an opportunity to learn more about the reasons behind such depravity.

Winchester Story. The daughter of the famous Winchester, heiress to 15,000 dollars a day, heard a prediction that she would die when her house was completed - just revenge for the thousands of victims which the only too famous carbine had created in the West over a century. Then, like Penelope, she began to build a house without end, interminably adding bedrooms, staircases, annexes. She died in the end, in the 1930s, leaving behind this monstrous 150-bedroom house as a memorial to the holocaust of the nineteenth century.

Derek Walcott, the Nobel laureate poet, wrote in his famous epic work Omeros of his fisherman-hero Achilles walking finally and wearily up the shingled slope of an Atlantic beach. He has turned his back on the sea at last, but he knows that even without his seeing it, it is behind him all the while and simply, ponderously, magnificently, ominously, continuing to be the sea. The Ocean is, quite simply, “still going on.

Hollywood Boulevard at night was a dream in neon. Mickey cruised along the strip, colorful lights blurring by like hallucinations. On his right, the El Capitan Theatre lured customers in like a Vegas casino, while the Walk of Fame preserved stardom on his left. Tourists bustled beneath the blinking signs like extras in the giant story of this land of stories, hoping for a real-life glimpse of that other world just behind the veneer of this place. In the ’50s, Hollywood Boulevard had looked different—less buildings, less vehicles, less pedestrians—but the aura of the strip, the energy, hadn’t changed at all.

Once, several years ago, I was looking around for something and moved a piece of furniture only to behold behind it a fuzzy little ball of...what? I looked closer, which is always a bad idea, adn jumped back with a screech. Of course, it was a dead mouse. A dead mouse that had been there long enough that it looked a little--what?--petrified. So I did what any normal person would do in a similar circumstance. I immediately, that very minute, sat down and wrote a story about it. I wrote and wrote until I was pleased with the dead mouse story. And then I used a piece of cardboard to life and slide the little mouse corpse into a small white box--the kind you use for jewelry. After all, I reasoned, I had just written a story about him! It felt like something worse than abandonment to get rid of him now...we were linked! Connected through the sacred ritual of storytelling. And anyway, what if this story ended up, you know, famous? What if my dead mouse story ended up being my "The Lottery"? Wouldn't it be incredibly neat to still have the original thing that inspired it? Yes, this is the way I think. So you can see the situation is bad. I have at least one dead rodent that I have kept ON PURPOSE.

of we are to believe Helen Cody Wetmore, one of William Cody's sisters, her family was descended from Spanish and Irish royalty, and were accordingly entitled to a crest. In her book Buffalo Bill, Last of the Great Scouts: The Life Story of Colonel William F. Cody, published in 1899, she wrote that her brother was "a lineal descendant of Milesius, king of Spain, that famous monarch whose three sons, Heber, Heremon, and Ir, founded the first dynasty in Ireland about the beginning of the

Who hasn’t thought about killing themselves, as a kid? How can you grow up in this world and not think about it? It’s an option taken by a lot of successful people: Ernest Hemingway, Socrates, Jesus. Even before high school, I thought that it would be a cool thing to do if I ever got really famous. If I kept making my maps, for instance, and some art collector came across them and decided to make them worth hundreds of thousands of dollars, if I killed myself at the height of that, they’d be worth millions of dollars, and I wouldn’t be responsible for them anymore. I’d have left behind something that spoke for itself, like the Brooklyn Bridge.