Jess Row Quotes
White writers in many cases choose not to populate their fiction with people of color. A lot of what I'm doing is trying to write against that, not about race but against the avoidance of race that's such a dominant model in white literary discourse.
Quotes to Explore
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The true Christian is called to be a soldier and must behave as such from the day of his conversion to the day of his death. He is not meant to live a life of religious ease, indolence and security. He must never imagine for a moment that he can sleep and doze along the way to heaven, like one traveling in an easy carriage.
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I've always wanted to play quarterback, and I lucked out to be able to play for my favorite team - America's team. I'm just living the moment. I feel like all of this was supposed to happen. When you work hard, things work your way.
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I have always had a horror and detestation of poverty.
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I love working the legislative process.
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Anytime you have a tight race and you lose, it's not pleasant.
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We have to challenge the whole idea that it's acceptable for a society like Britain to have such a significant number of people who do not work one day of the week and don't have any possibility of improving the quality of their lives.
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In tennis, because of the way it's scored, I don't think that scoring one point out of luck is ever decisive in winning. But, of course, it depends on the moment.
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If life must not be taken too seriously, then so neither must death.
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I like to look at 'A Place in the Sun' every now and get inspired by it.
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Starting in business is like getting married... there is really no good time and no bad time. The time is now.
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He that strives to touch the starts, oft stumbles at a straw.
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Reason cannot calm the storm of emotion, and emotion usually wins, until it settles down and allows reason to rise again and apologize on behalf of it.
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It is not true that we have only one life to live; if we can read, we can live as many more lives and as many kinds of lives as we wish.
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American business at this point is really about developing an idea, making it profitable, selling it while it's profitable and then getting out or diversifying. It's just about sucking everything up.
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Starting out, they told me: 'You're a good-looking guy. We'll put you in this role, and you can be a conduit for the audience into this side of the story.' But I've grown up, and that's not what I want anymore. My concept of the job I do has evolved. And it is a job, nothing more.
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In the early part of the '60s I was influenced by the Ventures.
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We - we spend a lot of time, scholarly time, thinking about love and sex, but very little about the - the kind of joy that can take over a crowd of people or a group of people, in festivity, in ecstatic ritual of some kind, in celebration.
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I could probably name thousands of albums that I want.
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If you want something badly enough, and decide that you will get it, you will.
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I first became interested in Ho Chi Minh in 1964-1965 while I was stationed at the U.S. Embassy in South Vietnam as a foreign service officer with the Department of State. The government in Saigon was at the point of collapse and the [Lyndon] Johnson administration was preparing to send U.S. combat troops to prevent a communist victory there. I became convinced that the U.S. effort would not succeed because of the lack of conviction in the Saigon government compared to the discipline and sense of self-sacrifice among the Viet Cong.
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I move slowly, and I used to move fast. I miss that.
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When a government controls both the economic power of individuals and the coercive power of the state ... This violates a fundamental rule of happy living: Never let the people with all the money and the people with all the guns be the same people.
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Light comes to us unexpectedly and obliquely. Perhaps it amuses the gods to try us. They want to see whether we are asleep.
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White writers in many cases choose not to populate their fiction with people of color. A lot of what I'm doing is trying to write against that, not about race but against the avoidance of race that's such a dominant model in white literary discourse.
