“Fidel made it clear in his opening remarks that the parents were important but not nearly as important as the baby. In some pictures Fidel had a big patch of wet saliva on his uniform because he had come over early to cuddle the baby.

A very warm and charming man — I enjoyed him.

I am very proud that Canada helped facilitate this; we have long, trusted ties.... This is good news and I celebrate with the Cuban people.

It was very kind of him, he was very proud of what he was doing with their children in establishing them as strong citizens.

What a fabulous place. The people are filled with life and music and happy in spite of very difficult times. Some of them work four jobs to support their families. They are wonderful people and I think this is an opportunity for them to really evolve as they need to.”

per 19 December 2014 article in National Post http://nationalpost.com/news/canada/margaret-trudeau-fondly-remembers-1976-trip-to-cuba-and-the-charming-dictator-who-cuddled-her-baby

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ex-wife of the late Canadian prime minister Pierre Trudeau 1948

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“The husband's behavior was heroic … but what we expect of a husband toward his wife: his right, and his proud privilege, to die for his woman. But what of this nameless stranger? Up to the very last second he could have jumped clear. He did not. He was still trying to save this woman he had never seen before in his life, right up to the very instant the train killed him. And that's all we'll ever know about him.
This is how a man dies.
This is how a man … lives!”

Robert A. Heinlein (1907–1988) American science fiction author

The Pragmatics of Patriotism (1973)
Context: I said that "Patriotism" is a way of saying "Women and children first." And that no one can force a man to feel this way. Instead he must embrace it freely. I want to tell about one such man. He wore no uniform and no one knows his name, or where he came from; all we know is what he did.
In my home town sixty years ago when I was a child, my mother and father used to take me and my brothers and sisters out to Swope Park on Sunday afternoons. It was a wonderful place for kids, with picnic grounds and lakes and a zoo. But a railroad line cut straight through it.
One Sunday afternoon a young married couple were crossing these tracks. She apparently did not watch her step, for she managed to catch her foot in the frog of a switch to a siding and could not pull it free. Her husband stopped to help her.
But try as they might they could not get her foot loose. While they were working at it, a tramp showed up, walking the ties. He joined the husband in trying to pull the young woman's foot loose. No luck —
Out of sight around the curve a train whistled. Perhaps there would have been time to run and flag it down, perhaps not. In any case both men went right ahead trying to pull her free... and the train hit them.
The wife was killed, the husband was mortally injured and died later, the tramp was killed — and testimony showed that neither man made the slightest effort to save himself.
The husband's behavior was heroic... but what we expect of a husband toward his wife: his right, and his proud privilege, to die for his woman. But what of this nameless stranger? Up to the very last second he could have jumped clear. He did not. He was still trying to save this woman he had never seen before in his life, right up to the very instant the train killed him. And that's all we'll ever know about him.
This is how a man dies.
This is how a man... lives!

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“I suppose he had the good luck to be executed, no? I had an hour's chat with him in Buenos Aires. He struck me as a kind of play actor, no? Living up to a certain role. I mean, being a professional Andalusian… But in the case of Lorca, it was very strange because I lived in Andalusia and the Andalusians aren't a bit like that. His were stage Andalusians. Maybe he thought that in Buenos Aires he had to live up to that character, but in Andalusia, people are not like that. In fact, if you are in Andalusia, if you are talking to a man of letters and you speak to him about bullfights, he'll say, 'Oh well, that sort of this pleases people, I suppose, but really the torero works in no danger whatsoever. Because they are bored by these things, because every writer is bored by the local color in his own country. Well, when I met Lorca, he was being a professional Andalusian… Besides, Lorca wanted to astonish us. He said to me that he was very troubled about a very important figure in the contemporary world. A character in whom he could see all the tragedy of American life. And then he went on in this way until I asked him who was this character and it turned out this character was Mickey Mouse. I suppose he was trying to be clever. And I thought, 'That's the kind of thing you say when you are very, very young and you want to astonish somebody.' But after all, he was a grown man, he had no need, he could have talked in a different way. But when he started in about Mickey Mouse being a symbol of America, there was a friend of mine there and he looked at me and I looked at him and we both walked away because we were too old for that kind of game, no? Even at that time.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

Richard Burgin, Conversation with Jorge Luis Borges, pages 92-93.
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