He reacted more to rookies than to guys who had been around for awhile, maybe because he would've liked someone to have helped him when he was a rookie. Clemente had known the same problems – the new language, getting acclimated to the big league atmosphere, how to deal with the media, where to eat on the road, how to dress. Sangy got picked off twice in one game. Robby came into the clubhouse, got a big piece of cardboard and put two sticks through it. He told Sangy to pretend it was a machine that he would use to take control of Sangy when he got on base. We laughed for 20 minutes, but it made Sangy realize he didn't have to stick his head in his locker if he made a costly mistake in a game, that we were all in this thing together. That's a valuable lesson and it could've saved Sangy a couple of years anxiety because he learned right away that no teammate holds a player completely responsible for losing a game.
Roberto Clemente
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Since the dawn of history the negro has owned the continent of Africa - rich beyond the dream of poet's fancy, crunching acres of diamonds beneath his bare black feet. Yet he never picked one up from the dust until a white man showed to him its glittering light. His land swarmed with powerful and docile animals, yet he never dreamed a harness, cart, or sled. A hunter by necessity, he never made an axe, spear, or arrowhead worth preserving beyond the moment of its use. He lived as an ox, content to graze for an hour. In a land of stone and timber he never sawed a foot of lumber, carved a block, or built a house save of broken sticks and mud. With league on league of ocean strand and miles of inland seas, for four thousand years he watched their surface ripple under the wind, heard the thunder of the surf on his beach, the howl of the storm over his head, gazed on the dim blue horizon calling him to worlds that lie beyond, and yet he never dreamed a sail!
Charles Darwin
You know the answers, but just between ourselves, that sketch smells a bit. It's sloppy.”
"I never did have any artistic talent,” Art said defensively. "I'd rather take a photograph any day.”
"You've taken too many photographs, maybe. As for artistic talent, I haven't any either, but I learned to sketch. Look, Art-the rest of you guys get this, too-if you can't sketch, you can't see. If you really see what you're looking at, you can put it down on paper, accurately. If you really remember what you have looked at, you can sketch it accurately from memory.”
"But the lines don't go where I intend them to.”
"A pencil will go where you push it. It hasn't any life of its own. The answer is practice and more practice and thinking about what you are looking at. All of you lugs want to be scientists. Well, the ability to sketch accurately is as necessary to a scientist as his slipstick. More necessary, you can get along without a slide rule.
Robert A. Heinlein
Numbers were a mystery to me. I was so far behind. It was only in Nairobi, at age ten, that I figured out anything at all about the way time is calculated: minutes, hours, years. In Saudi Arabia the calendar had been Islamic, based on lunar months; Ethiopia maintained an ancient solar calendar. The year was written 1399 in Saudi Arabia, 1972 in Ethiopia, and 1980 in Kenya and everywhere else. In Ethiopia we even had a different clock: sunrise was called one o'clock and noon was called six. (Even within Kenya, people used two systems for telling time, the British and the Swahili.) The months, the days--everything was conceived differently. Only in Juja Road Primary school did I begin to figure out what people meant when they referred to precise dates and times. Grandma never learned to tell time at all. All her life, noon was when shadows were short, and your age was measured by rainy seasons. She got by perfectly well with her system.
Ayaan Hirsi Ali
the most remarkable piece of reading that you may be recommended to take and try if you can study is a book by Goethe-one of his last books, which he wrote when he was an old man, about seventy years of age-I think one of the most beautiful he ever wrote, full of mild wisdom, and which is found to be very touching by those who have eyes to discern and hearts to feel it. It is one of the pieces in "Wilhelm Meister's Travels." I read it through many years ago; and, of course, I had to read into it very hard when I was translating it (applause), and it has always dwelt in my mind as about the most remarkable bit of writing that I have known to be executed in these late centuries. I have often said, there are ten pages of that which, if ambition had been my only rule, I would rather have written than have written all the books that have appeared since I came into the world.
Thomas Carlyle
Hitherto he has found in Western music, in Bach above all, everything he needs. Now he encounters something that is not in Bach, though there are intimations of it: a joyous yielding of the reasoning, comprehending mind to the dance of the fingers. He hunts through record shops, and in one of them finds an LP of a sitar player named Ustad Vilayat Khan, with his brother - a younger brother, to judge from the picture - on a veena, and an unnamed tabla player. He does not have a gramophone of this own, but he is able to listen to the first ten minutes in the shop. It is all there: the hovering exploration of tone-sequences, the quivering emotion, the ecstatic rushes. He cannot believe his good fortune. A new continent and all for a mere nine shillings! He takes the record back to his room, packs it away between sleeves of cardboard till the day he will able to listen to it again.
J. M. Coetzee