Quotes about link
page 5

Mickey Spillane photo

“Nobody ever walked across the bridge, not on a night like this. The rain was misty enough to be almost fog-like, a cold gray curtain that separated me from the pale ovals of white that were faces locked behind the steamed-up windows of the cars that hissed by. Even the brilliance that was Manhattan by night was reduced to a few sleepy, yellow lights off in the distance.
Some place over there I had left my car and started walking, burying my head in the collar of my raincoat, with the night pulled in around me like a blanket. I walked and I smoked and I flipped the spent butts ahead of me and watched them arch to the pavement and fizzle out with one last wink. If there was life behind the windows of the buildings on either side of me, I didn't notice it. The street was mine, all mine. They gave it to me gladly and wondered why I wanted it so nice and all alone.
There were others like me, sharing the dark and the solitude, but they were huddled in the recessions of the doorways not wanting to share the wet and the cold. I could feel their eyes follow me briefly before they turned inward to their thoughts again.
So I followed the hard concrete footpaths of the city through the towering canyons of the buildings and never noticed when the sheer cliffs of brick and masonry diminished and disappeared altogether, and the footpath led into a ramp then on to the spidery steel skeleton that was the bridge linking two states.
I climbed to the hump in the middle and stood there leaning on the handrail with a butt in my fingers, watching the red and green lights of the boats in the river below. They winked at me and called in low, throaty notes before disappearing into the night.
Like eyes and faces. And voices.
I buried my face in my hands until everything straightened itself out again, wondering what the judge would say if he could see me now. Maybe he'd laugh because I was supposed to be so damn tough, and here I was with hands that wouldn't stand still and an empty feeling inside my chest.”

One Lonely Night (1951)

David Hilbert photo
Abraham Joshua Heschel photo
Antonio Gramsci photo

“It is all a matter of comparing one’s own life with something worse and consoling oneself with the relativity of human fortunes. When I was eight or nine I had an experience which came clearly to mind when I read your advice. I used to know a family in a little village near mine: father, mother and sons: they were small landowners and had an inn. Very energetic people, especially the woman. I knew (I had heard) that besides the sons we knew, this woman had another son nobody had seen, who was spoken of in whispers, as if he were a great disgrace for the mother, an idiot, a monster or worse. I remember that my mother referred to this woman often as a martyr, who made great sacrifices for this son, and put up with great sorrows. One Sunday morning about ten, I was sent to this woman’s: I had to deliver some crocheting and get the money. I found her shutting the door, dressed up to go out to mass, she had a hamper under her arm. On seeing me she hesitated then decided. She told me to accompany her to a certain place, and that she would take delivery and give me the money on our return. She took me out of the village, into an orchard filled with rubbish and plaster; in one corner there was a sort of pig sty, about four feet high, and windowless, with only a strong door. She opened the door and I could hear an animal-like howling. Inside was her son, a robust boy of 18, who couldn’t stand up and hence scraped along on his seat to the door, as far as he was permitted to move by a chain linked to his waist and attached to the ring in the wall. He was covered with filth, and his eyes shone red, like those of a nocturnal animal. His mother dumped the contents of her basket – a mixed mess of household leftovers – into a stone trough. She filled another trough with water, and we left. I said nothing to my mother about what I had seen, so great an impression it had made on me, and so convinced was I that nobody would believe me. Nor when I later heard of the misery which had befallen that poor mother, did I interrupt to talk of the misery of the poor human wreck who had such a mother.”

Antonio Gramsci (1891–1937) Italian writer, politician, theorist, sociologist and linguist

Gramsci, 1965, p. 737 cited in Davidson, 1977, p. 35.

Larry Wall photo

“And we can always supply them with a program that makes identical files into links to a single file.”

Larry Wall (1954) American computer programmer and author, creator of Perl

[199709292012.NAA09616@wall.org, 1997]
Usenet postings, 1997

Sila María Calderón photo
Ervin László photo
Richard Leakey photo
Charles Darwin photo
Dana Gioia photo
Charles Dickens photo
Stuart Kauffman photo
Alain Finkielkraut photo

“According to … the French counterrevolutionaries and German Romantics, … the corpus of prejudices was a country’s cultural treasure, its ancient and tested intelligence, present as the consciousness and guardian of its thought. Prejudices were the “we” of every “I”, the past in the present, the revered vessels of the nation’s memory, its judgements carried from age to age. Pretending to spread enlightenment, the philosophes had set out to extirpate these precious residua. … The result was that they had uprooted men from their culture at the very moment when they bragged of how they would cultivate them. … Convinced that they were emancipating souls, they succeeded only in deracinating them. These calumniators of the commonplace had not freed understanding from its chains, but cut it off from its sources. The individual who, thanks to them, must now cast off childish things, had really abandoned his own nature. … The promises of the cogito were illusory: free from prejudice, cut off from the influence of national idiom, the subject was not free but shrivelled and devitalised. … Everyday opinion should therefore be regarded as the soil where thought was nourished, its hearth and sanctuary, … and not, as the philosophes would have it, as some alien authority which overwhelmed and crushed it. … The cogito needed to be steeped in the profundities of the collective mind; the broken links with the past needed repairing; the quest for independence should yield to that for authenticity. Men should abandon their scepticism and give themselves over to the comforting warmth of majoritarian ideas, bowing down before their infallible authority.”

Alain Finkielkraut (1949) French essayist, born 1949

Source: The Undoing of Thought (1988), pp. 25-26.

Thomas Piketty photo
Theodore Kaczynski photo
William Hazlitt photo
Olavo de Carvalho photo
S. S. Van Dine photo
Talal Abu-Ghazaleh photo
Shona Brown photo
Noam Chomsky photo

“A good way of finding out who won a war, who lost a war, and what the war was about, is to ask who's cheering and who's depressed after it's over - this can give you interesting answers. So, for example, if you ask that question about the Second World War, you find out that the winners were the Nazis, the German industrialists who had supported Hitler, the Italian Fascists and the war criminals that were sent off to South America - they were all cheering at the end of the war. The losers of the war were the anti-fascist resistance, who were crushed all over the world. Either they were massacred like in Greece or South Korea, or just crushed like in Italy and France. That's the winners and losers. That tells you partly what the war was about. Now let's take the Cold War: Who's cheering and who's depressed? Let's take the East first. The people who are cheering are the former Communist Party bureaucracy who are now the capitalist entrepreneurs, rich beyond their wildest dreams, linked to Western capital, as in the traditional Third World model, and the new Mafia. They won the Cold War. The people of East Europe obviously lost the Cold War; they did succeed in overthrowing Soviet tyranny, which is a gain, but beyond that they've lost - they're in miserable shape and declining further. If you move to the West, who won and who lost? Well, the investors in General Motors certainly won. They now have this new Third World open again to exploitation”

Noam Chomsky (1928) american linguist, philosopher and activist

and they can use it against their own working classes. On the other hand, the workers in GM certainly didn't win, they lost. They lost the Cold War, because now there's another way to exploit them and oppress them and they're suffering from it.
Forum with John Pilger and Harold Pinter in Islington, London, May 1994 https://web.archive.org/web/20000823015510/http://www.redpepper.org.uk/cularch/xalmeida.html.
Quotes 1990s, 1990-1994

C. Wright Mills photo
Jacques Derrida photo

“Although Saussure recognized the necessity of putting the phonic substance between brackets ("What is essential in language, we shall see, is foreign to the phonic character of the linguistic sign" [p. 21]. "In its essence it [the linguistic signifier] is not at all phonic" [p. 164]), Saussure, for essential, and essentially metaphysical, reasons had to privilege speech, everything that links the sign to phone. He also speaks of the "natural link" between thought and voice, meaning and sound (p. 46). He even speaks of "thought-sound" (p. 156). I have attempted elsewhere to show what is traditional in such a gesture, and to what necessities it submits. In any event, it winds up contradicting the most interesting critical motive of the Course, making of linguistics the regulatory model, the "pattern" for a general semiology of which it was to be, by all rights and theoretically, only a part. The theme of the arbitrary, thus, is turned away from its most fruitful paths (formalization) toward a hierarchizing teleology:… One finds exactly the same gesture and the same concepts in Hegel. The contradiction between these two moments of the Course is also marked by Saussure's recognizing elsewhere that "it is not spoken language that is natural to man, but the faculty of constituting a language, that is, a system of distinct signs …," that is, the possibility of the code and of articulation, independent of any substance, for example, phonic substance.”

Source: Positions, 1982, p. 21

David Cameron photo
Mark Tobey photo

“An artist must find his expression closely linked to his individual experience or else follow in the old grooves resulting in lifeless forms.”

Mark Tobey (1890–1976) American abstract expressionist painter

Mark Tobey Retrospective Exhibition, New York, Whitney Museum, 1951
1950's

Helena Petrovna Blavatsky photo
Samuel Taylor Coleridge photo
Paulo Freire photo

“In order for the oppressed to unite they must first cut the umbilical cord of magic and myth which binds them to the world of oppression; the unity which links them to each other must be of a different nature.”

Paulo Freire (1921–1997) educator and philosopher

Source: Pedagogia do oprimido (Pedagogy of the Oppressed) (1968, English trans. 1970), Chapter 4, Unity for Liberation

Fritjof Capra photo

“Partnership—the tendency to associate, establish links, live inside one another, and cooperate—is one of the hallmarks of life.”

Fritjof Capra (1939) American physicist

Epilogue: Ecological Literacy
The Web of Life (1996)

Margaret Fuller photo
David Cameron photo
Ernest Hemingway photo
Rachel Carson photo

“What is video art? How does it differ from commercial television? Is video art linked to such traditional art forms as painting and sculpture? Is it a totally new phenomenon?”

Gregory Battcock (1937–1980)

Gregory Battcock. New Artists’ Video, an anthology, (1978) p. xiii. Introduction:
Listing of the several general questions to which video art gave rise to in those days.

“Modern Slavs, both Bulgarians and Macedonians, cannot establish a link with antiquity, as the Slavs entered the Balkans centuries after the demise of the ancient Macedonian kingdom. Only the most radical Slavic factions—mostly émigrés in the United States, Canada, and Australia—even attempt to establish a connection to antiquity […] The twentieth-century development of a Macedonian ethnicity, and its recent evolution into independent statehood following the collapse of the Yugoslav state in 1991, has followed a rocky road. In order to survive the vicissitudes of Balkan history and politics, the Macedonians, who have had no history, need one. They reside in a territory once part of a famous ancient kingdom, which has borne the Macedonian name as a region ever since and was called ”Macedonia” for nearly half a century as part of Yugoslavia. And they speak a language now recognized by most linguists outside Bulgaria, Serbia, and Greece as a south Slavic language separate from Slovenian, Serbo-Croatian, and Bulgarian. Their own so-called Macedonian ethnicity had evolved for more than a century, and thus it seemed natural and appropriate for them to call the new nation “Macedonia” and to attempt to provide some cultural references to bolster ethnic survival..”

Eugene N. Borza (1935) American historian

"Macedonia Redux", in "The Eye Expanded: life and the arts in Greco-Roman Antiquity", ed. Frances B Tichener & Richard F. Moorton, University of California Press, 1999

Francis Fukuyama photo
James Anthony Froude photo
Dana Gioia photo
James O'Keefe photo
Robert Gascoyne-Cecil, 3rd Marquess of Salisbury photo
Margaret Mead photo

“We may say that many, if not all, of the personality traits which we have called masculine or feminine are as lightly linked to sex as are the clothing, the manners, and the form of headdress that a society at a given period assigns to either sex.”

Margaret Mead (1901–1978) American anthropologist

Source: 1930s, Sex and Temperament in Three Primitive Societies (1935), p. 280, cited in Perspectives in Cultural Anthropology (1987) by Herbert A. Applebaum, p. 141

Qin Gang photo
Amit Chaudhuri photo

“Tagore claims that the first time he experienced the thrill of poetry was when he encountered the children’s rhyme ‘Jal pare/pata nare’ (‘Rain falls / The leaf trembles') in Iswarchandra Vidyasagar’s Bengali primer Barna Parichay (Introducing the Alphabet). There are at least two revealing things about this citation. The first is that, as Bengali scholars have remarked, Tagore’s memory, and predilection, lead him to misquote and rewrite the lines. The actual rhyme is in sadhu bhasha, or ‘high’ Bengali: ‘Jal paritechhe / pata naritechhe’ (‘Rain falleth / the leaf trembleth’). This is precisely the sort of diction that Tagore chose for the English Gitanjali, which, with its thees and thous, has so tried our patience. Yet, as a Bengali poet, Tagore’s instinct was to simplify, and to draw language closer to speech. The other reason the lines of the rhyme are noteworthy, especially with regard to Tagore, is – despite their deceptively logical progression – their non-consecutive character. ‘Rain falls’ and ‘the leaf trembles’ are two independent, stand-alone observations: they don’t necessarily have to follow each other. It’s a feature of poetry commented upon by William Empson in Some Versions of Pastoral: that it’s a genre that can get away with seamlessly joining two lines which are linked, otherwise, tenuously.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

On Tagore: Reading the Poet Today (2012)

River Phoenix photo
Adelaide Anne Procter photo

“Heaven unites again the links that Earth has broken!
For on Earth so much is needed, but in Heaven Love is all!”

Adelaide Anne Procter (1825–1864) English poet and songwriter

"Philip and Mildred".
Legends and Lyrics: Second Series (1861)

Primo Levi photo
Priscilla Presley photo

“Yes. I came to Washington to lobby Senators and Congressmen to co-sponsor in support of the PAST Act and I'm hoping by making this public people will join me to help me get this bill passed. Links are available for them to contact their Congressman saying they support the PAST Act. That's all they have to do. You would think this is a no-brainer, that this would pass but there IS opposition. The law was passed in 1970 to stop soring but Horse Industry (HIOs) found loopholes and continued soring. USDA is charged with enforcement of the Horse Protection Act, but as the result of a 1976 amendment to the act, the USDA has for decades certified the horse industry organization to conduct the majority of inspections at horse shows. This self regulation scheme has failed miserably and has to be abolished. USDA inspectors are threatened by exhibitors at horse shows and must be frequently accompanied by security. If they had nothing to hide (like covering the scarred legs with paint or taking off other paraphernalia when USDA inspectors are around) why aren't they welcomed? That's why being their own inspectors is not working.”

Priscilla Presley (1945) actress and businesswoman from the United States and former wife of Elvis Presley

Priscilla Presley On The Cause She's So Passionate About And The First Time Elvis Took Her Breath Away http://www.huffingtonpost.com/pat-gallagher/priscilla-presley_b_4933783.html, 12 March, 2014.

Ambrose Bierce photo
Bill Thompson photo

“I happened to do the research on the links between al Qaeda and Iraq. (MATTHEWS: And what did you come up with?) SCHEUER: Nothing.”

Michael Scheuer (1952) American counterterrorism analyst

Hardball with Chris Matthews http://msnbc.msn.com/id/6511081/ November 16, 2004
2000s

“Thus for each blunt-faced ignorant one
The great grey rigid uniform combined
Safety with virtue of the sun.
Thus concepts linked like chainmail in the mind.”

Thom Gunn (1929–2004) English poet

Considering the Snail (l. 5-10)
Collected Poems by Thom Gunn (1994)

Robert T. Bakker photo
P. L. Travers photo

““Myth, Symbol, and Tradition” was the phrase I originally wrote at the top of the page, for editors like large, cloudy titles. Then I looked at what I had written and, wordlessly, the words reproached me. I hope I had the grace to blush at my own presumption and their portentousness. How could I, if I lived for a thousand years, attempt to cover more than a hectare of that enormous landscape?
So, I let out the air, in a manner of speaking, dwindled to my appropriate size, and gave myself over to that process which, for lack of a more erudite term, I have coined the phrase “Thinking is linking.” I thought of Kerenyi — “Mythology occupies a higher position in the bios, the Existence, of a people in which it is still alive than poetry, storytelling or any other art.” And of Malinowski — “Myth is not merely a story told, but a reality lived.” And, along with those, the word “Pollen,” the most pervasive substance in the world, kept knocking at my ear. Or rather, not knocking, but humming. What hums? What buzzes? What travels the world? Suddenly I found what I sought. “What the bee knows,” I told myself. “That is what I’m after.”
But even as I patted my back, I found myself cursing, and not for the first time, the artful trickiness of words, their capriciousness, their lack of conscience. Betray them and they will betray you. Be true to them and, without compunction, they will also betray you, foxily turning all the tables, thumbing syntactical noses. For — note bene! — if you speak or write about What The Bee Knows, what the listener, or the reader, will get — indeed, cannot help but get — is Myth, Symbol, and Tradition! You see the paradox? The words, by their very perfidy — which is also their honorable intention — have brought us to where we need to be. For, to stand in the presence of paradox, to be spiked on the horns of dilemma, between what is small and what is great, microcosm and macrocosm, or, if you like, the two ends of the stick, is the only posture we can assume in front of this ancient knowledge — one could even say everlasting knowledge.”

P. L. Travers (1899–1996) Australian-British novelist, actress and journalist

"What the Bee Knows" in Parabola : The Magazine of Myth and Tradition, Vol. VI, No. 1 (February 1981); later published in What the Bee Knows : Reflections on Myth, Symbol, and Story (1989)

Letitia Elizabeth Landon photo

“Let the rose fall, another rose
Will bloom upon the self-same tree;
Let the bird die, ere evening close
Some other bird will sing for me.
It is for the beloved to love,
'Tis for the happy to be kind;
Sorrow will more than death remove
The associate links affections bind.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

(2nd April 1831) Lines Supposed to be the Prayer of the Supplicating Nymph in Mr. Lawrence Macdonald’s Exhibition of Sculptures
The London Literary Gazette, 1831

Amir Taheri photo
Maurice Glasman, Baron Glasman photo
Letitia Elizabeth Landon photo

“There is no tie
Like that last holiest link of love, which binds
The lonely child to its more lonely parent.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

(5th July 1823) A Tale Founded on Fact
12th July 1823) Glencoe see The Vow of the Peacock (1835
(19th July 1823) Execution of Crescentius see The Improvisatrice (1824) Crescentius
The London Literary Gazette, 1823

Lawrence Durrell photo
Sam Harris photo
Tryon Edwards photo
Clement Attlee photo
Paulo Freire photo
Ernesto Che Guevara photo
Michele Bachmann photo
Ben Hecht photo

“The honors Hollywood has for the writer are as dubious as tissue-paper cuff links.”

Ben Hecht (1894–1964) American screenwriter

Books

Anne Rice photo
Hélène Binet photo

“My interest in working sites is linked to an investigation of what is behind the extravagant forms and perfect lines of Hadid’s Architecture; it is an interest in the relation between the elegance of her gesture and her radical way of making a building. Something very primordial and out of time is present in those situations. I think of this as a process of forming.”

Hélène Binet (1959) Swiss photographer

In: Hélène Binet’s ‘Forming | Portrait – Architecture of Zaha Hadid’ @ Gabrielle Ammann // Gallery http://sandsof.com/2012/11/24/helene-binets-forming-portrait-architecture-of-zaha-hadid-gabrielle-ammann-gallery/, sandsof.com, 24 November 2012
Binet has photographed the finished building as well as the project during construction of Zaha Hadid's buildings since mid-1980s.

Erving Goffman photo
Ray Comfort photo
Henry David Thoreau photo
Robert Williams Buchanan photo
Ernesto Che Guevara photo
Iain Banks photo
Marcel Marceau photo

“To communicate through silence is a link between the thoughts of man.”

Marcel Marceau (1923–2007) French mime and actor

US News & World Report (23 February 1987)

Girish Raghunath Karnad photo

“I was excited by the story of Yayati. This exchange of ages between the father and the son, which seemed to be terribly powerful and terribly modern. At the same time I was reading a lot of Sartre and the Existentialist. This consistent harping on responsibility which the Existentialist indulge in suddenly seemed to link up with the story of Yayati.”

Girish Raghunath Karnad (1938–2019) Indian playwright

This story of Yayati from the Mahabhrata generated interst in him to become a playwright and he explains this here.[Sahu, Nandini title=The Post-colonial Space: Writing the Self and the Nation, http://books.google.com/books?id=xs_tj0tDnnwC&pg=PA59, 2007, Atlantic Publishers & Dist, 978-81-269-0777-9, 120]

Gregory Benford photo
Manuel Castells photo