"Acta Interviews Robertson Davies".
Conversations with Robertson Davies (1989)
Context: [People] think of saints as people who lived an awfully long time ago and whose validity has disappeared. I think of them as people who didn't live such a long time ago, only a few hundred years or so. There must have been something about them that impressed people who were very much like me. What was it? And they must have been much more like somebody living today than we commonly think. What was behind it? What made these people special and what made a lot of other people regard them as special, either hating them or loving them? This is fascinating. It enlarges the whole world, and because it does so, it gives you great hope and sympathy with the future. You find yourself not an isolated miserable little wretch who has got seventy or eighty years to struggle along and then perish like nothing. You are the continuer of a very great tradition which you are going to pass on to the next lot. And you're right in the middle of the great stream of life. You see? Wonderful thing.
Quotes about lot
page 41
“It doesn't have a lot of mythic subtext. … For me a lot of the world really is like that.”
Strange Horizons interview (2004)
Context: I don't think all artists are mad, but there is statistical medical evidence that a lot of creative people suffer from various mood disorders. They fall somewhere on the spectrum of being bipolar, of being borderline autistic and so on. These things are there. Now of course these days you can go to college and when you come out you are a professional artist and you can run a gallery as a business and have a career. That is a very valid way for an artist to make a living. But it doesn't make for a very interesting story. It doesn't have a lot of mythic subtext. … For me a lot of the world really is like that. The scenes in my book that people describe as "such a hallucinatory sequence" … I don't see the world like that all the time, but I see the world like that a lot.
So what am I going to do about that? Am I going to go crazy? Am I going to institutionalize myself? Am I going to go and work in a cubicle as a telemarketer so that I don't give vent to that? Or am I going to take that and channel it into my work? It is a gift.
On leaving the music business in 1979,in an interview with CBS News Sunday Morning (12 August 2007) http://www.cbsnews.com/stories/2006/11/30/sunday/main2221286.shtml
Context: A lot of people would have loved me to keep singing … You come to a point where you have sung, more or less … your whole repertoire and you want to get down to the job of living. You know, up until that point, I hadn't had a life. I'd been searching, been on the road.
On Writing Poetry (1995)
Context: My English teacher from 1955, run to ground by some documentary crew trying to explain my life, said that in her class I had showed no particular promise. This was true. Until the descent of the giant thumb, I showed no particular promise. I also showed no particular promise for some time afterwards, but I did not know this. A lot of being a poet consists of willed ignorance. If you woke up from your trance and realized the nature of the life-threatening and dignity-destroying precipice you were walking along, you would switch into actuarial sciences immediately. If I had not been ignorant in this particular way, I would not have announced to an assortment of my high school female friends, in the cafeteria one brown-bag lunchtime, that I was going to be a writer. I said "writer," not "poet;" I did have some common sense. But my announcement was certainly a conversation-stopper. Sticks of celery were suspended in mid-crunch, peanut-butter sandwiches paused halfway between table and mouth; nobody said a word. One of those present reminded me of this incident recently — I had repressed it — and said she had been simply astounded. "Why?," I said. "Because I wanted to be a writer?" "No," she said. "Because you had the guts to say it out loud."
“For all their laughter, ghouls are a dull lot.”
"Meryphillia"
The Throne of Bones (1997)
Context: For all their laughter, ghouls are a dull lot. Hunger is the fire in which they burn, and it burns hotter than the hunger for power over men or for knowledge of the gods in a crazed mortal. It vaporizes delicacy and leaves behind only a slag of anger and lust. They see their fellows as impediments to feeding, to be mauled and shrieked at when the mourners go home. They are seldom alone, not through love of one another's company, but because a lone ghoul is suspected of stealing food. Their copulation is so hasty that distinctions of sex and identity are often ignored.
The Paris Review interview (1994)
Context: Kerouac had lots of class — stumbling drunk in the end, but read those last books. He never blames anybody else; he always blames himself. If there is a bad guy, it’s poor old drunk Jack, stumbling around. You never hear him railing at the government or railing at this or that. He likes trains, people, bums, cars. He just paints a wonderful picture of Norman Rockwell’s world. Of course it’s Norman Rockwell on a lot of dope.
Jack London had class. He wasn’t a very good writer, but he had tremendous class. And nobody had more class than Melville. To do what he did in Moby-Dick, to tell a story and to risk putting so much material into it. If you could weigh a book, I don’t know any book that would be more full. It’s more full than War and Peace or The Brothers Karamazov. It has Saint Elmo’s fire, and great whales, and grand arguments between heroes, and secret passions. It risks wandering far, far out into the globe. Melville took on the whole world, saw it all in a vision, and risked everything in prose that sings. You have a sense from the very beginning that Melville had a vision in his mind of what this book was going to look like, and he trusted himself to follow it through all the way.
As quoted in Mother Jones Magazine May-Jun 1991. Vol. 16, No. 3. p. 77 http://books.google.com.mx/books?id=IecDAAAAMBAJ&dq=%22Take+the+first+step+in+faith.+You+don%27t+have+to+see+the+whole+staircase%2C+just+take+the+first+step.%22&q=%22Take+the+first+step+in+faith.+You+don%27t+have+to+see+the+whole+staircase%2C+just+take+the+first+step.%22#v=snippet&q=%22Take%20the%20first%20step%20in%20faith.%20You%20don't%20have%20to%20see%20the%20whole%20staircase%2C%20just%20take%20the%20first%20step.%22&f=false. ISSN 0362-8841.
Context: In Montgomery, Alabama, Jonah and I went to the Civil Rights Memorial, and then we walked around to Dexter Baptist Church and went up into Martin's pulpit. I'd forgotten what a little place it was. We looked out from the little pulpit in that little church and talked about how something so big started from a place so small. Just a lot of committed people of faith in church on one side of the street, and all the power of Alabama in the state capitol right across the street. As a young lawyer, I used to listen to Dr. King in chapel at Spelman College. One of the thngs I liked about him was that he didn't pretend to be a great powerful know-it-all. I remember him discussing openly his gloom, depression, his fears, admitting that he didn't know what the next step was. He would then say: "Take the first step in faith. You don't have to see the whole staircase, just take the first step."
"On Living with Dignity in China"
No Enemies, No Hate: Selected Essays and Poems
Context: Admittedly, righteousness is weak unless it is backed by power, but power devoid of righteousness is evil. If most people cast their lot with the latter, then evil will prey forever upon humankind, as wolves and tigers prey upon lambs.
Prelude
Middlemarch (1871)
Context: Some have felt that these blundering lives are due to the inconvenient indefiniteness with which the Supreme Power has fashioned the natures of women: if there were one level of feminine incompetence as strict as the ability to count three and no more, the social lot of women might be treated with scientific certitude. Meanwhile the indefiniteness remains, and the limits of variation are really much wider than any one would imagine from the sameness of women's coiffure and the favorite love-stories in prose and verse. Here and there a cygnet is reared uneasily among the ducklings in the brown pond, and never finds the living stream in fellowship with its own oary-footed kind. Here and there is born a Saint Theresa, foundress of nothing, whose loving heart-beats and sobs after an unattained goodness tremble off and are dispersed among hindrances, instead of centring in some long-recognizable deed.
Said to Michael Silverberg of NPR; quote featured in the Buffy Monster Book (2000)
Context: I think there's a lot of people out there who say we must not have horror in any form, we must not say scary things to children because it will make them evil and disturbed... That offends me deeply, because the world is a scary and horrifying place, and everyone's going to get old and die, if they're that lucky. To set children up to think that everything is sunshine and roses is doing them a great disservice. Children need horror because there are things they don't understand. It helps them to codify it if it is mythologized, if it's put into the context of a story, whether the story has a happy ending or not. If it scares them and shows them a little bit of the dark side of the world that is there and always will be, it's helping them out when they have to face it as adults.
Strange Horizons interview (2004)
Context: I don't think all artists are mad, but there is statistical medical evidence that a lot of creative people suffer from various mood disorders. They fall somewhere on the spectrum of being bipolar, of being borderline autistic and so on. These things are there. Now of course these days you can go to college and when you come out you are a professional artist and you can run a gallery as a business and have a career. That is a very valid way for an artist to make a living. But it doesn't make for a very interesting story. It doesn't have a lot of mythic subtext. … For me a lot of the world really is like that. The scenes in my book that people describe as "such a hallucinatory sequence" … I don't see the world like that all the time, but I see the world like that a lot.
So what am I going to do about that? Am I going to go crazy? Am I going to institutionalize myself? Am I going to go and work in a cubicle as a telemarketer so that I don't give vent to that? Or am I going to take that and channel it into my work? It is a gift.
As quoted in In His Name (2010) by E. Christopher Reyes, p. 39
Context: I condemn false prophets, I condemn the effort to take away the power of rational decision, to drain people of their free will — and a hell of a lot of money in the bargain. Religions vary in their degree of idiocy, but I reject them all. For most people, religion is nothing more than a substitute for a malfunctioning brain.
Song lyrics, The Kick Inside (1978)
Context: Ooh, it gets dark! It gets lonely,
On the other side from you.
I pine a lot. I find the lot
Falls through without you.
I'm coming back, love.
Cruel Heathcliff, my one dream,
My only master.
“Someone helped us a lot with the atomic bomb.”
Statement about Julius and Ethel Rosenberg having performed espionage for the Soviet Union, as quoted in The FBI-KGB War : A Special Agent's Story (1995), by Robert J. Lamphere and Tom Shachtman, p. 306
Context: Someone helped us a lot with the atomic bomb. The intelligence (service) played a huge role. These Rosenbergs suffered in America. It is not excluded that they helped us. But we shouldn't really speak about it, because we might receive this kind of help in the future.
“My sense of history in music is much greater than a lot of people's.”
dig interview (2004)
Context: My sense of history in music is much greater than a lot of people's. I listen a lot further back in the whole history of music. It's not just pop music of the last 20, 30, 40, 50 years. I'm listening to stuff from hundreds of years ago as well, because you can learn from everything.
“Be content with your lot; one cannot be first in everything.”
Juno and the Peacock.
“You're dealing with a lot of silly people in the marketplace”
On being dispassionate and patient in investments, in an interview in Forbes magazine (1 November 1974); he is contrasting soft-drinks to intoxicating beverages in this example; Buffet eventually became a major investor in Coca-Cola.
Context: You're dealing with a lot of silly people in the marketplace; it's like a great big casino and everyone else is boozing. If you can stick with Pepsi, you should be O. K.
“Which is just a fancy way of saying, "I think about it a lot, day and night."”
"Publishing, Writing, and Authoring", p. 67
The Vorkosigan Companion (2008)
Context: I attack both from the logic-side, scribbling outline after outline, and the long-walk relaxed-visualization-side, and while neither alone is enough, the combination synergizes. Which is just a fancy way of saying, "I think about it a lot, day and night."
Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.
“There are a lot of people that I find it difficult to like.”
1950s, Loving Your Enemies (November 1957)
Context: The Greek language comes out with another word for love. It is the word agape. …agape is something of the understanding, creative, redemptive goodwill for all men. It is a love that seeks nothing in return. It is an overflowing love; it’s what theologians would call the love of God working in the lives of men. And when you rise to love on this level, you begin to love men, not because they are likeable, but because God loves them. You look at every man, and you love him because you know God loves him. And he might be the worst person you’ve ever seen. And this is what Jesus means, I think, in this very passage when he says, "Love your enemy." And it’s significant that he does not say, "Like your enemy." Like is a sentimental something, an affectionate something. There are a lot of people that I find it difficult to like. I don’t like what they do to me. I don’t like what they say about me and other people. I don’t like their attitudes. I don’t like some of the things they’re doing. I don’t like them. But Jesus says love them. And love is greater than like. Love is understanding, redemptive goodwill for all men, so that you love everybody, because God loves them. You refuse to do anything that will defeat an individual, because you have agape in your soul. And here you come to the point that you love the individual who does the evil deed, while hating the deed that the person does. This is what Jesus means when he says, "Love your enemy." This is the way to do it. When the opportunity presents itself when you can defeat your enemy, you must not do it.
The Environmental Revolution: Speeches on Conservation, 1962–77 (1978)
Context: It is frequently more rewarding merely to ask pertinent questions. It may get someone to go and look for an answer. If you get a silly answer, which can easily happen, you can return to the charge with even more telling effect. Whatever happens, don't give up and don't despair. Results may not be immediately apparent, but you may have touched a receptive chord without knowing it. Even the most unsympathetic and unenlightened politician, industrialist or bureaucrat begins to take notice when a lot of people write about the same subject.
The God Delusion (2006)
Context: If the alternative that's being offered to what physicists now talk about - a big bang, a spontaneous singularity which gave rise to the origin of the universe - if the alternative to that is a divine intelligence, a creator, which would have to have been complicated, statistically improbable, the very kind of thing which scientific theories such as Darwin's exists to explain, then immediately we see that however difficult and apparently inadequate the theory of the physicists is, the theory of the theologians - that the first course was a complicated intelligence - is even more difficult to accept. They're both difficult but the theory of the cosmic intelligence is even worse. What Darwinism does is to raise our consciousness to the power of science to explain the existence of complex things and intelligences, and creative intelligences are above all complex things, they're statistically improbable. Darwinism raises our consciousness to the power of science to explain how such entities - and the human brain is one - can come into existence from simple beginnings. However difficult those simple beginnings may be to accept, they are a whole lot easier to accept than complicated beginnings. Complicated things come into the universe late, as a consequence of slow, gradual, incremental steps. God, if he exists, would have to be a very, very, very complicated thing indeed. So to postulate a God as the beginning of the universe, as the answer to the riddle of the first cause, is to shoot yourself in the conceptual foot because you are immediately postulating something far far more complicated than that which you are trying to explain. Now, physicists cope with this problem in various ways, which may seem somewhat unconvincing. For example, they suggest that our universe is but one bubble in foam of universes, the multiverse, and each bubble in the foam has a different set of laws and constants. And by the anthropic principle we have to be - since we're here talking about it - in the kind of bubble, with the kind of laws and constants, which are capable of giving rise to the evolutionary process and therefore to creatures like us. That is one current physicists' explanation for how we exist in the kind of universe that we do. It doesn't sound so shatteringly convincing as say Darwin's own theory, which is self-evidently very convincing. Nevertheless, however unconvincing that may sound, it is many, many, many orders of magnitude more convincing than any theory that says complex intelligence was there right from the outset. If you have problems seeing how matter could just come into existence - try thinking about how complex intelligent matter, or complex intelligent entities of any kind, could suddenly spring into existence, it's many many orders of magnitude harder to understand.
Lynchburg, Virginia, 23/10/2006 http://www.youtube.com/watch?v=qR_z85O0P2M&t=42m41s
A Conversation with Ward Cunningham (2003), To Plan or Not To Plan
Context: Honest to God, I think Kent Beck's contribution to all this has been taking stuff that he and I discovered quietly together, or picked up from other programmers, and taking it to the limit. Taking it to the limit. And the fact that it actually holds up — and a lot of it improves — when taking it to the limit is why it should naturally be called "Extreme." Kent's single biggest contribution is being daring enough to say, "This is all that matters, and we should do it all the time."
"Everyday Bravery" (25 March 2007) http://www.youtube.com/watch?v=l_dppH8kaeo
Context: You know you're already brave. You don't get very far in life without having to be brave an awful lot. Because we all have our frightening moments and difficult trials and we don't have much of a choice but to get through 'em, and it takes a lot of bravery to do that. The most important thing about bravery is this — It's not about not being scared — it's about being scared and doing it anyway — that's bravery.
Interview by Adam Holdorf for Real Change News, (18 March 2004).
“The world's a fine place for those who go out to take it; there's lots of unknown stuff in it yet.”
A Man of Devon (1901)
Context: The world's a fine place for those who go out to take it; there's lots of unknown stuff in it yet. I'll fill your lap, my pretty, so full of treasures that you shan't know yourself. A man wasn't meant to sit at home...
“A lot of people still think like that, believe it or not.”
Source: The Apophenion (2008), p. 100
Context: Flat Earth theory serves well enough for a trip from the cave to the water hole and back, and a third dimension going up into the sky and down underground serves to accommodate gods and devils — A lot of people still think like that, believe it or not.
On violence in movies inspiring real-life violence, as quoted in Jam Showbiz (6 June 1999) http://jam.canoe.ca/Movies/Artists/S/Stowe_Madeleine/1999/06/06/762059.html
Context: I am really astonished at the number of violent acts.
I'm not saying that the movies created these situations, because there are a whole bunch of things.
But a lot of people in the movie industry tend to run and hide from it like ostriches. Movie industry people are definitely in denial right now, but you do become de-sensitized to violence when you see it on the screen so often.
Let's face it, violence exists for one reason in movies, and that's to get an effect, create an emotion, sell tickets.
The Pursuit of Simplicity (1981), p. 151
Variant: Total security has never been available to anyone. To expect it is unrealistic; to imagine that it can exist is to invite disaster. I believe the most important aim for humanity at present is to avoid war, dictatorship, and their awful consequences.
Better a Shield Than A Sword : Perspectives On Defense And Technology (1987), p. 241
Context: The preservation of peace and the improvement of the lot of all people require us to have faith in the rationality of humans. If we have this faith and if we pursue understanding, we have not the promise but at least the possibility of success. We should not be misled by promises. Humanity in all its history has repeatedly escaped disaster by a hair's breadth. Total security has never been available to anyone. To expect it is unrealistic; to imagine that it can exist is to invite disaster. What we do have in our technological capacities is an opportunity to use our inventiveness, our creativity, our wisdom and our understanding of our fellow beings to create a future world that is a little better than the one in which we live today.
Resignation speech http://hansard.millbanksystems.com/commons/1846/jun/29/resignation-of-the-ministry in the House of Commons (29 June 1846) after the repeal of the Corn Laws.
In an interview https://80000hours.org/2014/10/interview-holden-karnofsky-on-the-importance-of-personal-fit/ with Benjamin Todd, January 2014
1h12m00s https://www.youtube.com/watch?v=M7mB_WlihQo#t=1h12m00s
Nina Paley on: Sita Sings the Blues: The Ramayana and 'Free Culture' (2009)
Context: Everyone wants me to make another movie and I'm like "Yeah, I'm doing quilts." Yeah, I have ideas. I have to be really, really obsessively moved. Like I have to have no other choice to do a project that takes that much time and it has to be a motivation other than just that I know that I will get approval for it. Much as I love approval, I mean it's extremely tempting. I want it. And I have a lot of doubts about following my muse when my muse leads me down some weird path. Again, like quilts. But I also know that if I do something just because I know people will approve of that, that's not really going to help me as an artist. So I'm not ruling out doing another film, but I'm only going to do it if I have no other choice, which was the case with Sita Sings the Blues.
"Edward Witten" interview, Superstrings: A Theory of Everything? (1992) ed. P.C.W. Davies, Julian Brown
Context: In Newton's day the problem was to write something which was correct - he never had the problem of writing nonsense, but by the twentieth century we have a rich conceptual framework with relativity and quantum mechanics and so on. In this framework it's difficult to do things which are even internally coherent, much less correct. Actually, that's fortunate in the sense that it's one of the main tools we have in trying to make progress in physics. Physics has progressed to a domain where experiment is a little difficult... Nevertheless, the fact that we have a rich logical structure which constrains us a lot in terms of what is consistent, is one of the main reasons we are still able to make advances.
1800s, First Inaugural Address (1801)
Context: I repair, then, fellow-citizens, to the post you have assigned me. With experience enough in subordinate offices to have seen the difficulties of this the greatest of all, I have learnt to expect that it will rarely fall to the lot of imperfect man to retire from this station with the reputation and the favor which bring him into it.
Phlogiston interview (1995)
Context: Well, I decided that as a teenager that I really didn't know enough to describe character well and I was wasting my time. I'd learned as much as I could about story telling techniques and it wasn't a matter of technique any more. It was a matter of substance. As a result I said I was going to wait until I was a lot older and had more experience. So it was that after I got out of college I'd been away from SF for about four years. I'd read SF steadily from when I was eleven until I started college. When I started college I said, "I'm not going to read that while I'm here, I'm going to learn poetry and other things of that sort" in fact I wrote a lot of poetry then.
As quoted and paraphrased in "Clemente 'Sick,' That's Bad News to NL Hurlers" https://www.newspapers.com/newspage/62573816/ by Lou Prato (AP), in The Warren Times Mirror (Tuesday, June 5, 1962), p. 12
Baseball-related, <big><big>1960s</big></big>, <big>1962</big>
Context: “I sick, I have nervous stomach. I can hardly eat. I’m taking lot of vitamins and I’m getting stronger. But I still sick.” [... ] Clemente said he’s been bothered by stomach trouble since last August. "During the winter I feel real bad. I lost 18 pounds but I’ve picked my weight back up a little since then. I don’t feel too strong and sometimes when I run I get short of breath. Sometime I feel good and sometime I don’t feel like playing ball at all.” [... ] “If I get a little stronger, I hit with more power and I help the club more.”
Book Two in 'The Burial', B/O
The Master and Margarita (1967)
Context: The procurator studied the new arrival with avid, and slightly fearful eyes. It was the kind of look one gives someone one has heard of and thought a lot about, and whom one is meeting for the first time.
Response to a would be biographer in 1980, as quoted in "When Stephen met Sylvia" in The Guardian (24 April 2004) http://books.guardian.co.uk/review/story/0,12084,1201328,00.html
Context: I am very honoured by your wanting to write a life of me. But the fact is I regard my life as rather a failure in the only thing in which I wanted it to succeed. I have not written the books I ought to have written and I have written a lot of books I should not have written. My life as lived by me has been interesting to me but to write truthfully about it would probably cause much pain to people close to me — and I always feel that the feelings of the living are more important than the monuments of the dead.
Martin Fowler (2002) as cited in Evolutionary Design: A Conversation with Martin Fowler, Part III by Bill Venners, November 18, 2002.
As quoted in Cnaan Liphshiz. Obama ‘chickened out’ of confronting mullahs http://www.jpost.com/LandedPages/PrintArticle.aspx?id=272989. The Jerusalem Post. July 6, 2012.
Interviews, 2012
As quoted by Felice Friedson, Iranian Crown Prince: Ahmadinejad's regime is "delicate and fragile" http://www.rezapahlavi.org/details_article.php?article=459&page=2, August 12, 2010.
Interviews, 2010
As quoted by Afsané Bassir, Interview with Prince Reza Pahlavi, son of the late Shah of Iran http://www.rezapahlavi.org/details_article.php?article=50&page=7, Le Monde, June 6, 2001.
Interviews, 2001-2002
As quoted by Felice Friedson, Iranian Crown Prince: Ahmadinejad's regime is "delicate and fragile" http://www.rezapahlavi.org/details_article.php?article=459&page=2, August 12, 2010.
Interviews, 2010
“I think my dad is a lot cooler than other dads. He still acts like he's still 17.”
“When people work in a place that cares about them, they contribute a lot more than duty.”
“We have a lot of anxieties, and one cancels out another very often.”
Visit to Lebedinsky GOK, 2017-07-14
On Ukraine
“When you are young, you do a lot of stupid things.”
After being asked about 900 Amazon workers based in Seattle who will strike on September 20th in solidarity with a global strike: We Are Striking to Disrupt the System... https://www.democracynow.org/2019/9/11/greta_thunberg_swedish_activist_climate_crisis, DemocracyNow (11 September 2019)
2019
Book name: ECG simplified by Dr Yusof Mutahar
Section 2.2
Workers Councils (1947)
“Fairly well, but it is like talking to a lot of tombstones.”
Answer to Lord Riddell after he asked him how he liked speaking in the House of Lords (19 July 1922), quoted in Lord Riddell's Intimate Diary Of The Peace Conference And After 1918–1923 (London: Victor Gollancz, 1933), p. 379
Lord President of the Council
On A Kestrel for a Knave
Barry Hines Interview: Homecoming Hero
Resignation speech http://hansard.millbanksystems.com/commons/1846/jun/29/resignation-of-the-ministry in the House of Commons (29 June 1846) after the repeal of the Corn Laws
Prime Minister
Speech https://api.parliament.uk/historic-hansard/commons/1817/may/09/roman-catholic-question#column_422 in the House of Commons (9 May 1817) rejecting Catholic Emancipation
Chief Secretary for Ireland
What I Talk about When I Talk about Running (2009)
18th October 1968
1960s
Source: https://archives.nbclearn.com/portal/site/k-12/flatview?cuecard=34499
Interview: Dan Deacon http://wxjm.org/interview-dan-deacon/ (April 19, 2015)
On how she perceives female rage in “Gillian Flynn Isn’t Going to Write the Kind of Women You Want” https://www.vanityfair.com/hollywood/2018/06/gillian-flynn-isnt-going-to-write-the-kind-of-women-you-want in Vanity Fair (2018 Jun 28)
On how she formulates her characters in “An Interview with Tracy Chevalier” https://fictionwritersreview.com/interview/an-interview-with-tracy-chevalier/ in Fiction Writers Review (2019 Sep 23)
On how she compares short story writing to novel writing in “An Interview with Tracy Chevalier” https://fictionwritersreview.com/interview/an-interview-with-tracy-chevalier/ in Fiction Writers Review (2019 Sep 23)
On a passage from her novel Give It To Me in “AN INTERVIEW WITH ANA CASTILLO” http://bmr.unm.edu/2014/12/19/an-interview-with-ana-castillo/ in Blue Mesa Review (2014 Dec 19)
On how gangs might be viewed in “An Interview with Luis J. Rodriguez” https://www.epl.org/an-interview-with-luis-j-rodriguez-2/ (Evanston Public Library; 2011)
On his writing preferences in “An Interview with Luis J. Rodriguez” https://www.epl.org/an-interview-with-luis-j-rodriguez-2/ (Evanston Public Library; 2011)
ContraPoints, Feminism Did Not Destroy Atheism https://www.youtube.com/watch?v=klfH9QaEcqY (2016), Is Casual Sex Bad for Your Soul? https://www.youtube.com/watch?v=qKrbvLkbHu8 (2017)
On how she felt her roles were masculine in “Body of Work: Screen Siren Raquel Welch Gets Her Lincoln Center Retrospective” https://observer.com/2012/02/body-of-work-screen-siren-raquel-welch-gets-her-lincoln-center-retrospective/ in The Observer (2012 Feb 7)
On her views of writing in “Jamaica Kincaid: Does Truth Have a Tone?” https://www.guernicamag.com/does-truth-have-a-tone/ in Guernica (2013 Jun 17)
Source: On how she aimed to preserve the spoken word feel for her book The Poet X in “Debut Author Elizabeth Acevedo on 'The Poet X'” https://www.publishersweekly.com/pw/by-topic/childrens/childrens-authors/article/76224-q-a-with-elizabeth-acevedo.html in Publishers Weekly (2018 Mar 6)
On how activism was present in his upbringing in “Mr. Morales is currently running for SAG-AFTRA President” https://www.latinheat.com/spotlight-news/the-essential-esai-morales-interview/ in Latin Heat Entertainment (2013 Jul 31)
“I believe in beautiful messes…I like to splatter a lot.”
On his creative process in “Juan Felipe Herrera On Poetry In Tough Times” https://www.npr.org/2017/04/12/523466543/juan-felipe-herrera-on-poetry-in-tough-times in NPR (2017 Apr 12)
On correlating motherhood with writing in “Jackie Kay: Interview” https://www.telegraph.co.uk/culture/books/7800799/Jackie-Kay-Interview.html in The Telegraph (2010 Jun 5)
On her Communist upbringing in “The SRB Interview: Jackie Kay” https://www.scottishreviewofbooks.org/2016/03/the-srb-interview-jackie-kay/ in the Scottish Review of Books (2016 Mar 21)
On how she focused on inner beauty in “Lupita Nyong'o On 'Sulwe'” https://www.npr.org/2019/10/17/770848643/lupita-nyongo-on-sulwe in NPR (2019 Oct 17)
On the West’s environmental thinking in “'We're living in emergency times': nature writer Barry Lopez's dire warning” https://www.theguardian.com/books/2019/may/07/barry-lopez-horizons-environment-climate-change in The Guardian (2019 May 7)
On communicating with other like-minded individuals in “Mary H.K. Choi, Author of ‘Emergency Contact’ (Interview)” https://ilymag.com/2018/05/08/mary-h-k-choi-author-of-emergency-contact-interview/ in Ily Magazine (2018 May 8)
On portraying different kinds of relationships in her book Emergency Contact in “Interview with Mary H.K. Choi” https://therumpus.net/2018/05/the-rumpus-interview-with-mary-h-k-choi/ in The Rumpus (2018 May 18)
On what she typically writes about in “Exclusive interview: Petina Gappah speaks about the highs and lows of her writing career, and reveals details of her next book” https://johannesburgreviewofbooks.com/2017/09/04/exclusive-interview-petina-gappah-speaks-about-the-highs-and-lows-of-her-writing-career-and-reveals-details-of-her-next-book/ in the Johannesburg Review of Books (2017 Sep 4)
On the heart as the focus for her book Mend the Living in “‘What is a heart? You have an organ in your body and you have a symbol of love’” https://www.theguardian.com/books/2017/apr/28/maylis-de-kerangal-interview-wellcome-prize-writing in The Guardian (2017 Apr 28)
On being the sole African American romance novelist at the start of her career in “Romance Novelist Beverly Jenkins Talks Normalizing Diversity in Her Genre” https://www.shondaland.com/inspire/books/a12821649/beverly-jenkins-romance-interview/ in Shondaland (2017 Oct 12)
Finnish minister Sanna Marin, 34, to become world's youngest PM, https://www.bbc.com/news/world-europe-50709422BBC News, (9 December 2019)
On her past rivalry with Iman in “10 Questions With Beverly Johnson” https://time.com/4004384/10-questions-with-beverly-johnson/ in Time Magazine (2015 Aug 20)