Rich fellas come up and they die, and their kids ain't no good, and they die out. But we keep a-comin'. We're the people that live. They can't wipe us out. They can't lick us. And we'll go on forever, Pa, 'cause we're the people.
(Nunnally Johnson (1897-1977), U.S. screenwriter. Ma Joad (Jane Darwell), The Grapes of Wrath (1940).)
I know. That's what makes us tough. Rich fellows come up and they die. Their kids ain't no good and they die out. But we keepa comin'. We're the people that live. They can't wipe us out. They can't lick us. We'll go on forever, Pa, cause we're the people.
(Nunnally Johnson (1897-1977), U.S. screenwriter, and John Ford. Ma Joad (Jane Darwell), The Grapes of Wrath, pronouncement at the end of the film, as the Joad family drives on in search of opportunity (1940).
Based on the novel by John Steinbeck.)
[It is possible] that the race of red men ... will, before many generations, be remembered only as a strange, weird, dream-like specter, which has passed once before the eyes of men, but had departed forever.
(James A. Garfield (1831-1881), U.S. president. To J.D. Cox, August 6, 1870. Garfield, ch. 14, Allen Peskin (1978).)
Censorship is never over for those who have experienced it. It is a brand on the imagination that affects the individual who has suffered it, forever.
(Nadine Gordimer (b. 1923), South African author. Address, June 1990, to the international Writer's Day conference, London. "Censorship and its Aftermath," published in Index on Censorship (Aug. 1990).)
It is sadder to find the past again and find it inadequate to the present than it is to have it elude you and remain forever a harmonious conception of memory.
(F. Scott Fitzgerald (1896-1940), U.S. author, and Zelda Fitzgerald (1900-1948), U.S. writer. First published in Esquire (New York, June 1934). "Show Mr. and Mrs. F to Number," The Crack-Up, ed. Edmund Wilson (1945).)
Through dinner she felt a gradual icy coldness stealing through her like novocaine. She had made up her mind. It seemed as if she had set the photograph of herself in her own place, forever frozen into a single gesture.
(John Dos Passos (1896-1970), U.S. novelist, poet, playwright, painter. Manhattan Transfer, Houghton Mifflin Company (1925 and 1953).
Description of Ellen Thatcher at the moment when she decides to marry George Baldwin, a man whom she does not love, rather than Jimmy Herf.)
Men, forever tempted to lift the veil of the futurewith the aid of computers or horoscopes or the intestines of sacrificial animalshave a worse record to show in these "sciences" than in almost any scientific endeavor.
(Hannah Arendt (1906-1975), U.S. philosopher and political theorist; born in Germany. The Life of the Mind, vol. 2: Willing, ch. 14 (1978).)