Driving Quotes - page 33
The War on Drugs is over. Drugs won. It's time to stop wasting money, destroying lives, grinding up the Bill of Rights, and giving greater and greater power to the jackbooted thugs, in an unnecessary and futile attempt to enforce one group's ideas about what chemicals and vegetables some other group ought to manufacture, cultivate, distribute, purchase, possess, and consume. Repeal the drug laws, and prices will drop a thousandfold, driving most participants out of the business.
L. Neil Smith
A world in which cultural identities - ethnic, national, religious, civilizational - are central, and cultural affinities and differences shape the alliances, antagonisms, and policies of states has three broad implications for the West generally and for the United States in particular.
First, statesmen can constructively alter reality only if they recognize and understand it. The emerging politics of culture, the rising power of non-Western civilizations, and the increasing cultural assertiveness of these societies have been widely recognized in the non-Western world. European leaders have pointed to the cultural forces drawing people together and driving them apart. American elites, in contrast, have been slow to accept and to come to grips with these emerging realities.
Samuel P. Huntington
A typical "explained" incident is the one reported by Sir Chester Ramsbottom, on June 5, 1961, in Shropshire: "I was driving along the road at 2 A.M. and saw a cigar-shaped object that seemed to be tracking my car. No matter which way I drove, it stayed with me, turning sharply at right angles. It was a fierce, glowing red, and in spite of twisting and turning the car at high speed I could not lose it. I became alarmed and began sweating. I let out a shriek of terror and apparently fainted, but awoke in a hospital, miraculously unharmed." Upon investigation, experts determined that the "cigar-shaped object" was Sir Chester's nose. Naturally, all his evasive actions could not lose it, since it was attached to his face.
Woody Allen
I am always interested in the ways of scoring the sound of the poem, especially a poem with long lines. Spaces within a line, double colons, slashes, are indications of pause, of breath, of urgency, they are not metrically exact as in a musical notation but they serve (I hope) to make the reader think about the sound of the poem-just as traffic symbols, when driving, make us almost unconsciously aware of a steep hill, an intersection, an icy bridge etc. Poets have used such indicators long before modernism-Dickinson's dashes and capitals are one example. Contemporary composers have also expanded on classical notation with new, self-invented markings. You want to find a way that is not random or chaotic but allows for various renderings of a line, a punctuation of the imagination.
Adrienne Rich
At Newark airport, I climbed into a taxi. Wearing my uniform with all my ribbons and my Vietnamese airborne beret, I kept waiting for the driving to make a big fuss and exclaim "Hey! You're just back from Vietnam, aren't you!" Nothing. So I fed him hints like, "Gee, I haven't seen Newark for a while." But he dropped me at my mother's place with scarcely a word... I was pretty disoriented. I couldn't think about anything but Vietnam. The war was all over the newspapers, but people seemed not to care. Even when Mom introduced me to a few of her friends, they only said things like, "Well, I guess now you'll be able to get on with your life." No one wanted to know about Vietnam: the public wasn't caught up in the war, not at all like the spirit I remembered from my boyhood, during World War II. After two days I wanted to run through the streets yelling, "Hey! In Vietnam people are dying! Americans are dying! How can you act like nothing is happening?"
Norman Schwarzkopf, Jr.