I have always been interested in family history. Chromosomes are funny things, aren't they? They may skip a generation and you can find children who resemble the grandfather, rather than either parent. Heredity is more important than environment. Blood will tell. For example, a man is either musical by heredity or he is not. You can't make a man musical by the environment. You can find a person who is very musically inclined and be puzzled because neither parents nor grandparents had any ear for music. But if you trace it back, you will find that the great-grandfather was a musician. But the environment plays a great part in the development of a man. It is significant whether a man is brought up in the city or in the country, near a lake or on the shores of the ocean.
Hermann GöringRelated topics
blood children city country development ear example family find generation great great-grandfather heredity history lake man music near nor ocean person significant tell thingsRelated quotes
First of all, no one knows his place in society, his class position or social status; nor does he know his fortune in the distribution of natural assets and abilities, his intelligence and strength, and the like. Nor, again, does anyone know his conception of the good, the particulars of his rational plan of life, or even the special features of psychology such as his aversion to risk or liability to optimism or pessimism. More than this, I assume that the parties do not know the particular circumstances of their own society. That is, they do not know its particular economic or political situation, or the level of civilization and culture it has been able to achieve. The persons in the original position have no information as to which generation they belong.
John Rawls
You can lose yourself or disappear in a big city. You can even change your identity and live a new life. You can indulge in a very long investigation to find a trace of malice, starting only with one or two addresses in an isolated neighbourhood. I have always been fascinated by the short note that sometimes appears on search records: Last known address. Themes of disappearance, identity and the passing of time are closely bound up with the topography of cities. That is why since the 19th century, cities have been the territory of novelists, and some of the greatest of them are linked to a single city: Balzac and Paris, Dickens and London, Dostoyevsky and Saint Petersburg, Tokyo and Nagai Kafū, Stockholm and Hjalmar Söderberg.
Patrick Modiano
Carlo looked as at the world of fallen man on the endless suburbs that passed for a city, an eatery in the likeness of a Sphinx (enter between its forepaws), another, for jumbo malts so thick you can't suck 'em through a straw, in the form of an elephant crouched as at the bidding of its mahout, gimcrack temples of various faiths, attap roofs of nutburger stands with Corinthian columns, loans loans loans, stores crammed with cutprice radios, a doughnuttery, homes like Swiss chalets, like Bavarian castles, miniature Blenheims, Strawberry Hills, Taj Mahals, a bank in the form of a tiny ocean liner, dusty trees on the boulevards (datepalm, orange, oleander), bars with neon bottles endlessly pouring, colleges for stuntmen, beauticians, morticians, degrees in drummajoretteship.
Anthony Burgess
To consider the city as the projection of society on space is both an indispensible starting point and too elementary an approach. For, although one must go beyond the empiricism of geographical description, one runs the very great risk of imagining space as a white page on which the actions of groups and institutions are inscribed, without encountering any other obstacle than the trace of past generations. This is tantamount to conceiving of nature as entirely fashioned by culture, whereas the whole social problematic is born by the indissoluble union of these two terms, through the dialectical process by which a particular biological species (particularly because divided into classes) "man", transforms himself and transforms his struggle for life and for the appropriation of the product of his labour.
Manuel Castells
It is not the critic who counts not the man who points out how the strong man stumbles, or where the doer of deeds could have done thembetter. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly who errs and comes short again and again because there is not effort without error and shortcomings but who does actually strive to do thedeed who knows the great enthusiasm, the great devotion, who spends himself in a worthy cause, who at the best knows in the end thetriumph of high achievement and who at the worst, if he fails, at least he fails while daring greatly. So that his place shall never be withthose cold and timid souls who know neither victory nor defeat.
Theodore Roosevelt