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Quote by Anne Morrow Lindbergh

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Anne Morrow Lindbergh
Anne Morrow Lindbergh

Anne Morrow Lindbergh was an accomplished American author known for her profound personal experiences and elegant literary style. Born on June 22, 1906, and passing away on February 7, 2001, she was not only Charles Lindbergh's wife but also an independent writer and thinker. Her writing career began in the 1930s, with works spanning novels, poetry, and prose. Her first book, 'We Are the Ship,' is a memoir about her life with her husband. Despite the challenges in her marriage, she remained passionate about life and writing. Her other notable works include 'Gift from the Sea' and 'The Aviator's Wife,' which delve into themes of female identity, marriage, and the deeper questions of human existence. Lindbergh's writing has been praised for its insightful observations and beautiful language. Her works have had a wide-reaching impact both in the United States and internationally, influencing subsequent writers and considered an important figure in 20th-century American literature. more

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“La generalización me incomoda, pero siempre lo he pensado de las tragedias: la complejidad verbal, las dimensiones sicológicas, las exigencias interpretativas que hacen que un espectador no pueda nunca asir la implicaciones completas de lo que se le presenta, y deba volver una y otra vez sobre el texto: todo eso me ha permitido durante mucho tiempo pensar en un Shakespeare cansado que un día, ya al final de su vida, se topa con la primera traducción del Quijote y considera, demasiado tarde, todo lo que habría podido hacer con esta nueva forma.”

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“Nuevo silencio a lo largo del libro. En el ínterin, don Quijote de la Mancha, sin abandonar este nombre, adopta el de “Caballero de la Triste Figura” (I, 19, pp. 205-206) que le ha puesto Sancho Panza y que, en la segunda parte, cambiará por el de “Caballero de los Leones” (II, 17, p. 768), para caer, cerca del final, en el grotesco “pastor Quijótiz”

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Book:Cuatro ensayos sobre el Quijote (Lengua Y Estudios Literarios)
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“Con la misma libertad con la que el protagonista se ha autobautizado como don Quijote, se bautiza al final como Alonso Quijano el Bueno. En su lecho de muerte continúa imitando precisamente a los antiguos caballeros andantes, a los que ahora dice detestar. Porque en esto, como en ponerse el apodo de “Caballero de los Leones”, sigue ahora —son sus palabras— “la antigua usanza de los andantes caballeros, que se mudaban los nombres cuando querían o cuando les venía a cuento” (II, 17, p. 768). Cervantes ha querido que su personaje decida, como tantas otras cosas, con qué nombre desea morir.”

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“Cervantes, creo yo, quiso dejar abiertas ambas posibilidades: sembró aquí y allá indicios que apuntan ya a la locura irremediable de don Quijote, ya a su cordura final. Y aquí cabe recordar un pasaje del Persiles: a la hora de la muerte, “por la mayor parte, o se dizen grandes sentencias, o se hazen grandes disparates”.[5] A la hora de su muerte don Quijote parece moverse entre esos dos extremos. La muerte reitera en él su naturaleza de loco-cuerdo, de cuerdo-loco. La cosa es, en efecto, más compleja de lo que suele pensarse.”

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“What I wanted to tell you about Philidor was that Diderot wrote him a letter. You know Diderot?" "The French Revolution?" "Yeah. Philidor was doing blindfold exhibitions and burning out his brain, or whatever it was they thought you did in the eighteenth century. Diderot wrote him: 'It is foolish to run the risk of going mad for vanity's sake.' I think of that sometimes when I'm analyzing my ass over a chessboard.”

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“Ah...Dectective, this is a very private and personal moment for them both. I'm sure you can understand their need for-" A man stumbled out clutching a sheet round his waist and Valkyrie's eyes widened. "Whoa," she said as he hummed into a table. He was tall and sandy-haired and his physique was jaw-dropping lay amazing. "No way," she said. "Scapegrace?" The man looked at her, and shook his head. The a woman came charging out of the back room, slammed into the man and they both went rolling across the floor. "Give it to me!" The woman screamed. "Give it to me!" Nye scuttled over. "Mr Scapegrace, you know the procedure cannot be repeated, your brains are in far too deteriorated a condition." "You! Gave! Me! The! Wrong! Body!”

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“I went into the new year loving myself in different ways, in a different possibility. It was then that I understood things I hadn’t. It was then that I understood people I hadn’t. We work in ways where sometimes we don’t align because our intersections lead us elsewhere. We find ourselves in rapids which lead to lightning, in beds that leave us homesick. We lust after the impetuous, in hopelessness, and sometimes in the reactive. We like things and people who are bad for us and that’s fine. It’s fine because it’s life. It happens. They exist. We exist. We all exist together in this world where nothing seems to make sense. Where everything is nothing but imaginary because it’s what we imagine it to be. Reality exists and it’s there, but life is what you make it. Your actions ask for it. How you exist is how you exist. We take every new year and give it a theme because we’re scared of how it could be. You change in the moment, not by years. You be to become and becoming is something which frightens people. Lead by example instead of letting the example lead you. Take this new year and find yourself in people who question it because questioning is how you gain from it.”

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“I cannot have an heir who thinks he is stronger than I am,” Alliddar leaned in closer to stare into Nye’s eyes. “It might have an adverse influence on my life expectancy, I hear. Which is why I asked Kerak to find me a flawed, ruthless Harbinger, someone with the will to annihilate Ivy if she becomes a witch, but not nearly strong enough to make me feel threatened in my position.”

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