I would like people to understand the rationale for my embryonic stem cell research decision and how the process became distorted over time.
Passion is never enough; neither is skill.
At some point in life the world's beauty becomes enough. You don't need to photograph, paint or even remember it. It is enough. No record of it needs to be kept and you don't need someone to share it with or tell it to. When that happens — that letting go — you let go because you can.
You are your own stories and therefore free to imagine and experience what it means to be human. . . . And although you don't have complete control over the narrative (no author does, I can tell you), you could nevertheless create it.
The theme you choose may change or simply elude you, but being your own story means you can always choose the tone. It also means that you can invent the language to say who are you and what you mean.
And talking about dark! You think dark is just one color, but it ain't. There're five or six kinds of black. Some silky, some woolly. Some just empty. Some like fingers. And it don't stay still, it moves and changes from one kind of black to another. Saying something is pitch black is like saying something is green. What kind of green? Green like my bottles? Green like a grasshopper? Green like a cucumber, lettuce, or green like the sky is just before it breaks loose to storm? Well, night black is the same way. May as well be a rainbow.
Black people's music is in a class by itself and always has been. There's nothing like it. The reason for that is because it was not tampered with by white people. It was not on the media. It was not anywhere except where black people were. And it is one of the art forms in which black people decided what is good in it. Nobody told them. What surfaced and what floated to the top, were the giants and the best.
The scheme of a game is played on positional lines; the decision of it, as a rule, is effected by combinations.
The memory represents to us not what we choose but what it pleases.
Psychohistory, like psychoanalysis, is a science in which the researcher's feelings are as much or even more a part of his research equipment than his eyes or his hands. Weighing of complex motives can only be accomplished by identification with human actors, the usual suppression of all feeling preached and followed by most "science" simply cripples a psychohistorian as badly as it would cripple a biologist to be forbidden the use of a microscope. The emotional development of a psychohistorian is therefore as much a topic for discussion as his or her intellectual development.
A man is not primarily a witness against something. That is only incidental to the fact that he is a witness for something.